Part 5: Other Great Albums Just Outside the Fringes of Jazz-Rock Fusion

Outlier Bands / Albums

(that is, whose sound cannot quite be considered Jazz-Rock Fusion) 

NEIL ARDLEY A Symphony of Amaranths (1972)

For this ambitious recording of original compositions--which were dedicated to "the two immortals who produced the greatest orchestral jazz music," Duke Ellington and Gil Evans--Neil resuscitated the old New Jazz Orchestra that he had directed and help found back in the early 1960s with Jon Hiseman and Tony Reeves (as well as Jack Bruce, Dick Heckstall-Smith, and Ian Carr and Henry Lowther). The music was recorded sometime in 1971 but it was not released to the public until sometime in 1972, probably early. The list of musicians is a veritable Who's Who of British Jazz Rock.

Line-up / Musicians:
- Neil Ardley / prepared piano, director/band leader, composer
- Chris Laurence / bass
- Jeff Clyne / bass
- Jon Hiseman / drums, percussion

- Stan Tracey / piano, celeste
- Karl Jenkens / electric piano
- Alan Brascombe / harpsichord

- Frank Ricotti / vibraphone, percussion

- Derek Watkins / trumpet
- Nigel Carter / trumpet
- Henry Lowther / trumpet
- Harold Beckett / trumpet
- Derek Wadsworth / trombone
- Ray Premru / trombone
- Dick Hart / tuba
- Barbara Thompson / woodwind, sax
- Dave Gelly / woodwind, sax, glockenspiel
- Don Rendell / woodwind, sax
- Dick Heckstall-Smith / woodwind, sax
- John Clementson / oboe
- Bunny Gould / bassoon
- David Snell / harp
- Sidonie Goossens / harp
- Jack Rothstein / violin, conductor
- Eric Gruenberg / violin
- Kelly Isaacs / violin
- Ken Essex / viola
- Charles Tunnell / cello
- Ivor Cutler / narrator
- Norma Winstone / vocal

A. "A Symphony of Amaranths" (24:59) a seriously classical composition and production with some jazzy elements but more of an Impressionist/Expressionist type of cinematic music. Absolutely, stunningly beautiful! Without hesitation I must say that this composition alone does tremendous justice to the two heroes to which he dedicated it. I find no flaw; correction: I find myself too small to even possibly due justice to any critique or criticism to this amazing piece of music. I wouldn't change a single note it feels so perfect, feeds my soul so completely. (50/50)

  - "Carillon"
  - "Nocturne"
  - "Entracte"

  - "Improptu"

B1. "The Dong With a Luminous Nose" (11:50) narrator Ivor Cutler recites the words of Edward Lear over Neil's wonderfully fitting jazz-infused orchestra soundtrack. (22.875/25)

"Three Poems": Norma Winstone sings the poetry lyrics of W.B. Yeats, James Joyce, and Lewis Carroll, respectively, during the following three musical renderings of Neil's own musical interpretations. Norma was fresh off of being voted by Melody Maker magazine as the top female Jazz Singer of 1971 (which makes this quite the coup for Neil).

 
B2. "After Long Silence" (4:09) Norma Winstone has an incredible voice: one that I would follow to the ends of the Earth. Her voice reminds me of the upbeat, positive tones of both Swing Out Sister's Corinne Drewery and No Small Affair's Demi Moore performance of "My Funny Valentine" as dubbed by Chrissie Faith. (10/10)

B3. "She Weeps Over Rahoon" (3:22) Norma, again, but this time singing a very different style: here sounding like a fuller voiced, whisper-toned version of the great modern avant prog singer Elaine di Falco (Thinking Plague, Francesco Zago projects for Fading Records/AltrOck Productions in the 2010s). (9.125/10)

B4. "Will You Walk a Little Faster?" (3:48) opening with some upper register scatting à la Ella or Urszula Dudziak, but once the song gets into full swing (pun intended) it's a showtune tour de force/extravaganza. Ver ysimilar to the skill level and stylings of Barbra Streisand's Broadway career and previewing the type of sounds and skills we'll soon be hearing from Renaissance's Annie Haslam. (9.25/10) 

Total time: 48:08

A zesty tongue-in-cheek version of the UK national anthem ends the album, but we don't need to count that (as fun as it was to hear everyone in the studio's control room cracking up at the end).

Neal was one of those incredibly gifted and talented humans whose artistic abilities almost require one to drop the mantle of "Renaissance Man" on his shoulders. What a loss to the music world it was that his career in the writing and publishing world spawned such a lucrative and demanding life for him. (Author of Britain's World Book Encyclopedia and founding member of the Dorling Kindersley [DK] "How Things Work" series of children's books--all of which led to sales in the multiples of millions.) Each of his symphonic, choral, and New Jazz Orchestra projects could have generated equal fame and, hopefully, fortune. But here we are.

96.43 on the Fishscales = A/five stars; a masterpiece of music no matter what kind you want to call it. I am so glad to have discovered this amazing album; I will cherish FOREVER!

MANEIGE Les porches (1975)

The Québecois band of serious musicians take a step forward from their previous album, their self-titled debut, in both compositional freedom and sound production. 

Line-up / Musicians:
- Alain Bergeron / piano, flutes, saxophone
- Jérôme Langlois/ piano, guitar, clarinet, string arrangements
- Yves Léonard / electric bass, tuba
- Gilles Schetagne / drums, percussion
- Vincent Langlois / percussion, piano solo (1e)
With:
- Denis Lapierre / electric guitar (3)
- Raôul Duguay / trumpets & vocals (1f)
- Peter Schenkman / violin
- Albert Pratz / violin
- Walter Babiak / violin
- Bill Richards / violin
- Paul Picard / bongos & xylophone (3a, 3b)

1. "Les porches de Notre-Dame" (19:14) The opening epic is so refined and majestic--opening with a section that feels as stately as a Russian nationalist song. (It's not very proggy, though; more classical.) "Suite I" is so gorgeous, sounding very much like the modern day Greek Prog Folk band, CICCADA. Suite II sounds and so French! Like Ravel, Fauré, or Debussey--with its piano, flute and tubular bells/vibraphone trio format, while "Suite III" shows the band's sound beginning to take on a jazzier, more-MIKE OLDFIELD sound palette while the arrangements and melodies harken back more to folk traditions. (Province-mates CONVENTUM sounded a bit like this in 1979.) The "Déscouverture" section is more classical (using an upright piano?) The final section "Les porches" is the first to use any electrified instruments--including a vocal addition in which a quite unusual male voice sings. The effect is quite romantic and emotional! The song wends its way into a three-chord major-minor-minor "Stairway to Heaven" blues-rock end progression and pace while piano, electric guitar, trumpet, and, later, saxophone weave their individual noodling to the song's end. 

Other than the closing movement, there is very little jazz or rock in this suite, but it is absolutely awesome, start to finish! (40/40):

a) Ouverture (3:03)
b) Suite I (2:34)
c) Suite II (0:45)
d) Suite III (3:25)
e) Désouverture (2:48)
f) Les Porches (6:50)

2. "La grosse torche" (1:24) folk melodies given a bit of a symphonic prog sound. (4.375/5)

3. "Les aventures de saxinette et Clarophone" (15:41) This is far more straightforward jazz with a little jazz-rock à la THE SOFT MACHINE than the opener--and it's a kind of B-level jazz-less-rock at that. It has a prolonged opening section in which nothing is really established or developed (other than sound palette). The middle section ("Chapitre I, épisode 2") finally establishes a structure rhythm and repeated chord progression over which vibes, saxes, and clarinets take turns soloing. About ahlfway through an electric guitar enters to solo a bluesy solo before the suite moves into the next movement. With "Chapitre II, épisode 1" the music becomes sax-dominated--even into the next section, "Chapitre II, épisode 2," where it gets really weird: with some crowd noises before a section which feels as if the listener is shut in a closet. (Why? To avoid the crowd? To think? The thoughts may provide one great idea, but that idea is quickly forgotten and left behind in lieu of the usual banal patterns and habits of the day. Weird.) The final section is much more disciplined and cerebral before falling into the sway of a friendly little folk melody.

A fine effort full of character, wit, beauty, and creativity, and excellent performances, but, personally, I prefer the band's self-titled debut album over this one. (27.5/30):

a) Chapitre I, épisode 1 (3:47)
b) Chapitre I, épisode 2 (5:16)
c) Chapitre II, épisode 1 (1:31)
d) Chapitre II, épisode 2 (2:34)
e) Chapitre III (2:33)

4. "Chromo part I" (2:36) now this is jazz rock! Kind of cheesy bass play but great flutes and reeds. (4.375/5)

5. "Chromo part II" (1:37) part two of the Chromo suite, this one has some of the pretentiousness of a Canterbury act but then flies into some serious jazz-rock territory. (4.375/5)

Total Time 40:32

French jazz fusion band Maneige's most highly acclaimed album opens with a superb side-long folk-classical epic, "Les Porches de Notre-Dame" but then falters a little with two brief pieces that feel more like practice études and one other strange epic, "Les aventures de saxinette and clarophone." The band's winds section and tuned percussion players are deserving of superlatives.

95.59 on the Fishscales = A/five stars; a certifiable masterpiece

JUKKA TOLONEN Tolonen! (1971)

Recorded in Helsinki in October of 1971, Jukka leads his Wigwam friends through an awesome folk- and jazz-informed representative of his unique and definitively progressive ideas.

Line-up / Musicians:
- Jukka Tolonen / electric & acoustic guitars, piano, spinet, composer & arranger
With:
- Jukka Gustavson / Lowrey organ (5)
- Pekka Poyry / soprano (1, 3) & alto (2) saxophones
- Pekka Pohjola / bass (1, 4, 5)
- Heikki Virtanen / bass (2)
- Reino Laine / drums (1, 2), cowbell (2)
- Ronnie Österberg / drums (4, 5)

1. "Elements - Earth/Fire/Water/Air" (8:06) a song that sounds as if The Grateful Dead were being joined by a classically-trained Bluegrass/Folk band. Very interesting--and very invigorating. Great play from everybody involved: especially Jukka himself (on acoustic guitars, wah-wah guitar and piano and spinet!) and Pekka Pohjola on bass (melodic, as usual). The uncredited flute player deserves some flowers as well. I think they did it: they covered all four of the elements! Excellent suite--comprised of four equally great sections. (14.75/15)

2. "Ramblin" (9:02) soprano sax starts off up top while Jukka and bassist Heikki Virtanen set up the semi-funky R&B, semi jazz-rock motif for further soloing by both Pekka Poyry and Jukka. This bass player is impressive! (Perhaps as much for how forward in the mix he's been placed.) Jukka is also very impressive: using both technical skills and effects as needed/desired. Still, he does show that he's young and has more to learn--especially in the isolated solo he has in the third minute. His jazz Django-like strumming is also pretty advanced though I expect he'll get cleaner with experience. His work behind the sax, within the rhythm corps, is almost as impressive: that sixth minute is pretty amazing! Mr. Poyry does, however, manage to crawl out from beneath his leader's shadow in the seventh and eighth minutes. Very nice! (And you all know that I am not a sax man.) The song's final two minutes sees everybody gelling into an even-keeled ensemble, which is nice. Evenso, Jukka can't stop impressing me with his virtuosic instincts and displays. (19.25/20)

3. "Mountains" (6:35) slow guitar chord strums (one chord) while "distant" horn plays sentimentally behind. This goes on for 130 long, Rodrigo/"Aranjuez"-like seconds before the sax fades away, replaced by a couple of Mike Oldfield-like mandolin- and 12-string-sounding guitars for a little less than a minute before the original motif is brought back for a round of melodic repetition. Then the two motifs are cleverly melded into one interesting weave. I love creativity like this! Excellent song. Excellent emotional conveyance. (9.25/10)   

4. "Wanderland" (5:02) Pekka Pohjola, Ronnie Österberg and multiple tracks of multiple instruments devoted to Jukka's guitars, acoustic and electric, spinet, and piano make for a great tune that reminds me of the instrumental sides of Crosby, Stills, Nash & Young, Comus, The Strawbs, Gryphon, and other anachronistic prog and folkie pop artists; just a sweet, nice folk AMERICA-like tune (recorded a month before America was to release their Amazing first album). (9.25/10)

5. "Last Night" (Live at Tavastia-Club) (3:26) full on, ear-splitting (high volume) rock 'n' roll--complete with electric everything and rollicking organ to boot. This shows Jukka and the gang's rock/prog rock proclivities. (8.625/10)

Total Time 32:11

My verdict is that, while Jukka is definitely a jazz-trained guitarist, like so much of the output coming from the Wigwam family of musicians, this is not as much a Jazz-Rock Fusion album as an album of wide-ranging progressive rock: there's rock, folk-jazz, prog, and folk-pop music (sans lyrics) and a little creative/experimental Jazz-Rock Fusion (before it really existed as its own musical domain). With technical skills and creative instincts like those presented on this album, I look forward with great anticipation to hearing and reviewing all of Jukka's 1970s output! 

94.04 on the Fishscales = A/five stars; a masterpiece of creative and wide-ranging folk- and jazz-infused progressive rock music. I would not, however, call this a proper representation of Jazz-Rock Fusion. HIGHLY recommended! Especially if you like really creative, inventive song palettes and song constructs.

P.S. I would rate this down for its unseemly brevity, but it's just too likeable--and too fascinating.

ATOLL L'araignée-mal (1975)

Top notch symphonic prog from France with amazing production, composition, power, and melody.

Line-up / Musicians

- André Balzer / lead vocals, percussion
- Christian Beya / guitar
- Michel Taillet / Eminent synth, clavinet, percussion, backing vocals
- Richard Aubert / violin
- Jean Luc Thillot / bass, vocals
- Alain Gozzo / drums, percussion, backing vocals
With:
-Bruno Géhin / piano, Fender electric piano, Mellotron, Mini-Moog

- Laurent Gianez / sax (5) 

1. "Le Photographe Exorciste" (9:10) theatric three-part suite with very theatric opening section, prog-rich mid-section and then brilliant electric guitar exhibition in the finale section. (18.333/20)

2. "Cazotte N°1" (6:00) speedy jazz-rock fusion-infused prog with violin and tight jazz-rock rhythm corps fully featured. Overall, this song feels like a highly-competent and wholly-original blend of 1975 Fusion III-era MICHAL URBANIAK, No Mystery RETURN TO FOREVER, and second-incarnation MAHAVISHNU ORCHESTRA's Apocalypse. I find Michel Taillet's clavinet and bassist Jean Luc Thillot's work to be very impressive throughout this excellent piece. (9.75/10)

3. "Le Voleur d'extase" (7:30) electric violin with pastoral electronic prog instrumentation in support open this before André Balzer steps in to start singing (with a heavily-treated but still-recognizable and admirable display of emotion). After only one introductory verse the band shifts into high gear to take us into a very theatric section in which a choir of vocalists add their "ho, ho, ho" punctuation points to the band's music. Kind of PFM "L'isola di niente" like. Cool! several other different and separate instrumental motifs are explored over the next couple of minutes before there is a little break in which Michel Taillet's or Bruno Géhin's keyboard bridges the band into a new more ALLMAN BROTHERS-like motif in which guitarist Christian Beya solos impressively in a Southern Rock style over the clavinet, Fender Rhodes, thick jazz bass, and fiery drums of Alain Gozzo. Impressive and by no means a weak song, just not as good as the others on the album. (13.375/15)

4. "L'Araignée-Mal" (21:20) since I first heard this song, I've considered it one "classic era" progressive rock's pinnacle/mountaintop prog epics. (38.5/40):
 - a. Imaginez Le Temps (6:40) Impossibly gorgeous! Prog perfection in every way possible! I love the synths and violin. (10/10)
 - b. L'Araignée-Mal (5:05) starts off rather dully but builds with amazing emotion coming from the vocals, drums, bass and panning synths. (10/10)
 - c. Les Robots Débiles (3:35) great bass, guitars, and keys in this dynamic and diverse (mostly) instrumental section. And I love the clavinet as a foundational piece. The vocals, while continuing to be full of power and emotion, might be a bit over the top here. (9.5/10)
 - d. Le Cimetière De Plastique (6:00) (9/10)

I also love how the four sections aren't stop and go, the music shifts and blends from one movement to the next.

Total time 44:00 

94.07 on the Fishscales = A/five stars; a certifiable masterpiece of progressive rock music of the very highest order and caliber. L'araignée-mal deserves to be in the conversation with all of the very best albums of the Big Six, best RPI, and best Jazz-Rock Fusion albums of the 1970s.

EGBERTO GISMONTI Academia de Danças (1974)

This is a grandiose production that I've found mentioned several times on reviewers' lists of their favorite Jazz-Rock Fusion albums. It was recorded in 1974 at EMI-Odeon Studio, Rio de Janeiro.

Line-up/Musicians:

- Egberto Gismonti / piano, piano eléctrico, sintetizador, órgano, guitarra acústica, flauta, voces

- Danilo Caymmi / hijo de Dorival Caymmi: flauta bajo (bass flute)
- Paulo Guimarães / flauta (flute)
- Tenorio Junior / piano eléctrico, órgano (electric piano, organ)
- Luiz Alves / bajo (bass)
- Roberto Silva / batería (drums)
- Dulce Bressane / voces (vocals)

- Orquesta de cuerdas dirigida por Mario Tavares

Sice One: "Corações Futuristas" - one continuous symphonic piece. A totally unexpected journey of power and virtuosity. (42.5/45)
A1. "Palácio De Pinturas" (4:37) grandiose and bombastic, this is every bit as proggy as it is fusioni. Mario Tavares' orchestral arrangements are a huge part of the finished music while the keyboards, guitars, bass, and drums often feel engulfed and insignificant by comparison to them. (9.5/10)

A2. "Jardim De Prazeres" (4:53) The musicianship and compositionship are top, top notch while the psychedelic vocals remind me a lot of something The Doors, The Who, The Eloy, Popol Vuh, or Hawkwind might have done. The bass thrums are so deep and volcanic!  (10/10)
A3. "Celebração De Núpcias" (4:22) moving out of the deep crust of the planet, the strings component of the orchestra and guitars take us into some serene Eden-like place--thanks also to the dulcet vocalese of Dulce Bressane. Again, the compositional genius and musicianship are really shocking--really difficult for me to get my head around. In the third minute the music "toughens up" a bit, allowing for a greater display of guitar playing virtuosity. (9.5/10)
A4. "A Porta Encantada" (2:24) Egberto and his guitar lead the band into a dangerous forest of orchestral trees and jungle. The jazzier (though still classical) side of this composition. (9/10)
A5. "Scheherazade" (2:01) moving now into more of a Rock/Jazz-Rock realm for a theatric bullfight-type of scenario. Not the finish to this extraordinary suite that I was expecting. (4.5/5)

Side Two: "Academia De Danças"
B1. "Bodas De Prata" (4:50) wonderful treated "underwater" solo piano play introduces and supports a vocal performance that is powerful and beautiful but not nearly so as the piano play. Organ and bass make minimal contributions but it's really just reverberated voice and piano. (9.333/10)
B2. "Quatro Cantos" (4:31) part two of the two-part suite. The piano levels out in the lower regions of the keyboard, smoothing out, while the vocal turns more intimate, more personal--it becomes the central/most impressive part of the song. Flutes, organ, and other incidental percussives and synthesizer noises make occasional contributions--as if incidental noises coming from a jungle outside the recording studio. (9.375/10)

B3. "Vila Rica 1720" (1:59) orchestra and electric instruments combined forcefully, magically, powerfully. (4.75/5)
B4. "Continuidade Dos Parques" (2:59) moving into something gentler and more vocal-supportive than the first part. Egberto here sings with his gentle voice without using any words; in fact, it feels as if the instruments are doing more of the talking than his voice. Again, this could be Jazz (as Jan Akkerman and John McLaughlin are, we know, capable of beautiful jazz) but it could also be progressive rock or just great Brasilian Prog Folk music. (9.333/10)

B5. "Conforme A Altura Do Sol" (2:50) a dynamic piece that sounds as if it could come from Emerson, Lake & Palmer, Area, Camel, or any number of classical and jazz-oriented prog bands from the 20th Century (or beyond). (9.125/10)
B6. "Conforme A Altura Da Lua" (1:50) part two sees the final notes of the previous part crumble into something more cinematic with bass flute, big VANGELIS-like synthesizer groans, electric piano flailings and a bunch of "controlled cacophony" thrown at us from a full orchestra. Now that's an ending! (4.75/5)

Total Time: 37:40

I don't know if I'd consider this Jazz-Rock Fusion so much as an incredible contribution to progressive rock music--the symphonic and crossover sides. Whatever its category, this is without a doubt a masterpiece of music--both from a compositional perspective as well as from a performative aspect. Music does not get much better than this! Ever! 

93.86 on the Fishscales = A/five stars; an utterly remarkable masterpiece of progressive rock music--Brasilian symphonic prog with large doses of Jazz and Classical music thrown into the mix. Incredible music that simply must be heard! 

DR. DOPO JAM Entrée (1973)

Wonderful theatric psychedelic avant-garde jazz music from Roskilde, Danemark.

Line-up / Musicians:
- Lars Bisgaard / vocals
- Lars Rasmussen / lead guitar, violin
- Kristian Pommer / rhythm guitar, piano, Moog, vocals, composer & arranger (excl. 6)
- Anders Gaardmand / tenor & soprano saxophones, flute
- Poul "Skak" Snitker / trumpet, flute, bass, composer & arranger (6)
- Vagn Hansen / bass
- Niels "Vejmand" Christensen / drums
- Bent Clausen / drums, vibraphone

1. "Essentia Suite" (25:04) a very entertaining and enjoyable adventure in musical theatre. I have to admit to being quite surprised at how well it flows, how well recorded it is, and how engaged I remained throughout. I love the forward mixing of all the instruments and the stellar clarity and definition of each and every instrument. The music does get a little too-rock 'n' roll at times--especially in the Elvis-like final movement. (47.5/50) 
- a. Opening "HELLO"
- b. Essentia I, Sanquine
- c. Essentia II, Choleric
- d. Essentia III, Melancholic
- e. Essentia IV, Phlegmatic
- f. Qvinta Essentia: VITA
- g. Overture: Absorbia
     g.a. Heart-Theme, Solaria
     g.b. Brain-Theme, Lunaria
     g.c. Liver-Theme, Jupiter
     g.d. Kidney-Theme, Venus
- h. VI: The Complete Pentagram

2. "Samelam-Samelam" (4:10) blues-rock feeling as if resuscitated from the late 1950s. Great in the instrumental portion after Lars says, "Sock it to me, Baby." How can I help but not like this music?!(8.875/10)
 

3. "Entree's" (3:54) a little 1960s game show theme music or else an overture to a peppy moralistic hippie-happy stage musical. Whatever this is, it's delightful! Keyboard artist and band leader Kristian Pommer should get more credit for his wonderful clavinet playing here. The rhythmists Bent Clausen and Niels "Vejmand" Christensen as well. Heck! Everybody is spot on with this one! (9.25/10)

4. "Spring-Theme-Summer-Theme" (3:55) a delightful piece of music very much in the vein as Billy and Gene Page's big 1964 hit, "The In Crowd." (9.3333333/10)

5. "In The Morning" (2:01) another gorgeous piece that feels as if it would be a perfect fit for the American Tribal Love-Rock Musical, Hair. (5/5)

6. "Desserts: Forest-Flower-Picking-Preludium" (7:29) sounds very much like something SUPERSISTER would have been putting out at the same time: quirky yet sophisticated and driven by the attention span of someone with Attention Deficit Disorder. Nice extended lead (fuzz) guitar work from Lars Rasmussen Probably the weakest total package on the album (it feels like a bit of studio jamming filler)--both compositionally and sound engineering-wise--but still better than 95% of the stuff out there! (8.75/10)

Total time 46:33

While never too complex musically, the ideas are quite wild and expressive in an almost-spontaneous way. All the music is actually quite melodic, pretty, and even quite danceable. Well recorded and engineered, lead singer/vocalist Lars Bisgaard is quite talented--blessed with a beautiful voice and a perfect English accent. The comparisons to the music of both Frank Zappa and the Canterbury Scene artists are quite warranted as well as Brass Rock bands like Chicago and Blood, Sweat and Tears. The musicianship is quite high with all instruments being present with absolute confidence and competency.

      I'm going to have trouble grouping this album with the true jazz-rock fusers yet the amazing number of styles and sounds experimented and fused with here definitely deserve some kind of major recognition, however, at the same time, I will understand all of the people who will exclaim that if I admit this album into my J-R Fuse compendium then Frank Zappa's stuff should be as well. Maybe I will!

93.38 on the Fishscales = A/five stars; an excellent masterpiece of chameleonic music theater from some pretty focused musicians.

P.S. I will not be including the band's follow-up album, Fat Dogs & Danishmen in my compendium because I feel that it shows the band "overstaying their welcome" in the Frank Zappa world of inanities:

I find this album far less satisfying than its predecessor mostly due to the feeling of conceit and ego coming from the singer and sound. It's as if the band now knows how clever, refreshing, and unique they are and are basking in the glory and attention. Also, on a similar trajectory to that of Frank Zappa, the slide into "potty humour" I find rather cheap and unnecessary. Silliness for the sake of laughs and shock and silliness is just not my cup of tea: it's one of the things that turned me sour on our own beloved and late Colin Tench as well as The Beatles and Frank Zappa. The sound production is still quite nice, the musicianship a little more relaxed and "easy," while the band retains its admirable stylistic flexibility. Don't get me wrong: I still enjoyed the music quite a lot; it's just that I fail to find the joy or purpose in producing this kind of music. I mean: Do these humans, now fifty years on, look back with any kind of pride at this album? Or does it cause more of a cringe/embarrassment factor? They can be proud of their musicianship and, I'm sure, revel in the good feelings of comaraderie for the times and compatriots involved in the creation of these times. 

JOE HENDERSON Power to the People (1969)

Taking a cue from Miles, Joe has one foot firmly entrenched in the past with four and a half songs all acoustic, two and a half electrified (and in employing three of Miles' favorite collaborators).

Power to the People was recorded in 1969 at Plaza Sound Studios in New York City on May 23 (A2, B1) and May 29 (A1, A3, A4, B2, B3) and then released by Milestone Records later in the year.

Line-up / Musicians:

- Joe Henderson / tenor saxophone
- Herbie Hancock / electric piano (tracks: A1, A2, B1), piano (A3, A4, B2)
- Ron Carter / double bass (A1, A3, A4, B2, B3), electric bass (A2, B1)
- Jack De Johnette / drums 
- Mike Lawrence / trumpet (A2, B1)

A1. "Black Narcissus" (4:46) I did not know that Joe Henderson was the composer of this amazing song! The delivery of the main melody through double bass, floating electric piano chords, and such delicate sax notes is quite remarkable. The crescendos at the end of each lullaby-like verse keep catching me off-guard but otherwise I think this quite the magical gift--something that is more than just music. (9.333/10)

A2. "Afro-Centric" (7:02) Ron Carter playing electric bass with Herbie Hancock's electric piano automatically raises some eyebrows--especially since the dudes were free of the demanding supervision of Miles Davis. They both sound less fluid and less masterful of their "new" instruments (both musicians had only picked up the electric versions of their instrument at the behest of bandleader Davis for the song "Stuff" on the 1968 Quintet album, Miles in the Sky), in fact, Ron is given two tracks in order to satisfy producer Orrin Keepknews and composer Joe Henderson's preferences. Still, I enjoy the hooks, flow, and sax and trumpet interplay very much. (13.875/15)

A3. "Opus One-Point-Five" (4:55) a beautifully-spaced, all-acoustic quartet performance that amazes for the clear, subtle sound and spaciousness--two things that allow for such amazing definition of the delicate nuances of every piano note, every one of Joe's breaths, every squeak from sliding on the neck of the bass, and definitely the incredible touch of the great Jack De Johnette (which is, in my opinion, his superpower). The unique and infinitely creative instincts of these fine musicians really comes shining through on this Ron Carter composition--especially from Herbie but also from Joe. What a gift from Ron! And megakudos to Orrin Keepknews and engineer George Sawtelle. (9.625/10)

A4. "Isotope" (4:51) from the first note the whole band is on point for this one: expressing the main line melody as a whole, piano, sax and double bass completely synched up while Jack holds down the beat with his nuanced "background" drumming. The staccato approach to both Herbie's and Joe's solos is a bit unexpected but then they both draw it out a bit more as the song goes along. This is one of those songs that illustrates why Ron Carter was one of the greats--especially when he stuck to the acoustic double bass. Solid, tight, precise, peppy, and very nuanced; a fine illustration of how seasoned, professional, and proficient these musicians had all become. (9/10)

B1. "Power to the People" (8:39) the performances on this song are so incredible: the trumpet and stax play of Mike Lawrence and Joe Henderson, respectively, as well as the scene-stealing electrci piano play of Herbie, and Ron Carter playing harmonics on his electric bass(!) but it is the drumming of Jack De Johnnette that outshines them all. The man is on fire! (18.75/20)

B2. "Lazy Afternoon" (4:31) leazy afternoon but there's so much to do! Like a chill summer's afternoon in my childhood--back in the 1960s--when there was never a problem with filling every minute of every a day. Herbie's accompaniment on piano is like the wind and sun in the background while Joe's sweet sax is like the omnipresent bird, insect, leaves, and animal noises making up the textural background of life. Beautiful! Like something off of Kind of Blue only more mundane and pertinent to everyday life. (9.375/10)

B3. "Foresight and Afterthought (An Impromptu...)" (7:31) another vehicle for Jack De Johnette to shine while he and Ron and Joe feed off of one another (this Joe Henderson composition is presented in a trio format). It's fiery and then, in the third minute, plodding and suspenseful as things slow down and thin out for some free form expression from the saxophone. While Jack and Ron comply, you can tell that they're not really into it, but when the rhythmatists are asked to pick things back up at the four-minute mark it with the kind of gusto and enthusiasm that any bandleader could only hope for--enough so that Joe seems to soar and fly on his sax like a hawk playing around on the thermals and gusts of a windy day. An odd tune but one that definitely impresses--especially from Joe but almost as well from Jack and Ron. (13.75/15)

Total Time: 42:31

Once again I have to express my enthusiastic appreciation for the sound quality of this production: George Sawtelle and Orring Keepknews have really orchestrated a beautiful rendering of some fine performances of some of Jazz music's greatest athletes--letting the listener hear with absolute clarity and distinction the nuanced brilliance of each and every performer at all times. As this "lost masterpiece" continues to rise up and receive its due, I am glad to be one to jump on the wagon. Great stuff from a great team! 

93.01 on the Fishscales = A/five stars; a certifiable masterpiece of Sixties Jazz, one that displays some of the boundary-pushing instincts of five of Jazz's most adventurous and virtuosic stalwarts--even providing some glimmers of proto-Jazz-Fusion along the way. 

(THE) WEB I Spider (1971) 

An album that just came to my attention due to a 19-year old discussion thread on ProgArchives on the subject of Jazz-Rock Fusion masterpieces. Why have I never heard of this!? Other than Psychedelic Paul, why is no one ever mentioning this amazing album?!

Line-up / Musicians:
- Dave Lawson / vocals, piano, organ, Mellotron, harpsichord, producer (6,7)
- Tony Edwards / electric & acoustic guitars
- Tom Harris / tenor & soprano saxophones, concert & alto flutes, tambourine
- John Eaton / bass, cabassa
- Lennie Wright / drums, timpani, congas, güiro, vibes, co-producer
- Kenny Beveridge / drums, bongos, woodblock, jawbone

1. "Concerto for Bedsprings" (10:10) (18/20):
- a. "I Can't Sleep" - a motif that sounds like something from Van Der Graaf Generator and The Soft Machine as well as a preview/inspiration for Renaissance's "A Trip to the Fair." (4.375/5)
- b. "Sack Song" - here the band slips into a care-free happy-go-lucky instrumental interlude that swings like Joe Jackson or something from Paul Weller's Style Council project. (5/5)
- c. "Peaceful Sleep" - piano, vibes and voice make this motif sound even more like something whimsical from Joe Jackson with a tinge of Roddy Frame in the vocal and lyrics. (4.5/5) 
- d. "You Can Keep the Good Life" - a bit of a rebelliousness in the loose, adolescent vocal with some nice sax play from Tom Harris. Repetitious and, over time, monotonous--just like the grueling, repetitve schedule of "the good life"! (4.375/5) 
- e. "Loner" - a brief finale to acknowledge the anti-establishment attitude decided upon by this angst-ridden teen. So very Gen Z!

2. "I Spider" (8:30) from the opening organ chords and bass notes this one has the listener wrapped within one of its paralytic cocoons. Dave Lawson's wizard-like vocals only enhances the spell, giving this a Demons and Wizards sound and feel--and only 18 months before Uriah Heep's album was released! I absolutely love this song--and find it hard to believe that it came out in 1970! It's so clean, well-engineered (with multiple tracks performed by several musicians). It feels so confident and mature! Please keep me cocooned here forever: eat me slowly; I love this drug you're feeding me! (20/20)

3. "Love You" (5:21) another Roddy Frame motif turns Joe Jackson. Awesome! (9.125/10)

4. "Ymphasomniac" (6:43) the albums first song to approach the true Jazz-Rock Fusion sound, but it sounds so intentional, so "by the numbers" that you find yourself questioning the band's ability to pull it off. By the second half you realize that it's just a interlude/filler vamp (with some great organ play from Dave Lawson!) (8.875/10)

5. "Always I Wait" (8:10) almost falling completely into the EGG/HATFIELD & THE NORTH field of Canterbury dreams. Bass, drums, vibes, and especially organ take a jazzier turn in the instrumental second half. (13.5/15)

Total Time 38:54

This is very cool prog with Jazz, Canterbury, and Roddy Frame-like Pop-Soul -fusion elements--prog with a Soft Machine attitude and Van Der Graaf Generator musical sensibilities. 

93.0 on the Fishscales = A/five stars; a minor masterpiece of wonderfully-rendered jazzy-prog--prog with an attitude!

JEREMY STEIG Jeremy & The Satyrs (1968)

A band that was formed kind of by default as the original lineup of Jeremy, Eddie, Donald, and Warren had been hired to back up singer-songwriter Tim Hardin but had to cope with Tim's sudden and unannounced disappearances by still gigging and practicing. After a particularly long absence of Tim's Jeremy decided they should go ahead without Tim, officially, whereupon they hired "blues singer" Adrian Guillery to help carry on. The album that became Jeremy & The Satyrs was recorded in 1967 in New York City at A&R Studios and then released by Reprise Records in January of 1968--and lo! and behold! The world had the makings of a fusion of Blues, R&B, Jazz, and Rock.

Line-up / Musicians:
- Jeremy Steig / flutes

- Edgar "Eddie" Gomez / bass
- Donald MacDonald / drums
- Warren B. Bernhardt / electric piano
- Adrian Guillery / guitars

A1. "In The World Of Glass Treardrops" (5:22) if The Doors had chosen a more-jazz orientation this is what they might have sounded like. Amazing song! Such a raw and full-feelinged vocal performance--one that surely inspired everyone else in the band to achieve the spirited performances they all put down. Unfortunately, the vocal performance is uncredited but I'm going to assume it's the voice of Adrian Guillery since 1) he was the song's composer, 2) Jeremy refers to him as "a blues singer" in later interviews, and 3) since Jeremy can't sing and play the flute at the same time and I've never heard Eddie, Warren, or Donald singing on any other albums. (10/10)

 
A2. "Superbaby" (3:52) blues jazz from Warren Bernhardt using a modern rhythm & blues rhythm section and electric guitar and harmonica (both by Adrian Guillery) and electric piano. There is a definite Southern blues component due to Adrian's dynamic harmonica play but the rhythm section seems to keep bringing it back to a jazzy Rhythm & Blues foundation. The musicians are definitely all locked in, despite the frequent changes of pace and motif demanded by the composition. (9/10)

A3. "She Didn't Even Say Goodbye" (6:30) the album's second Adrian Guillery composition opens with some very bluesy electrified acoustic guitar with piano, bass, drums, and flute playing around his guitar Swamp Blues ministrations and deep Southern blues singing. Once again I commend the musicians for being on the same page--and for being so dialed in. (Thank goodness Time Hardin didn't show up!) notable performances capture and engineered so well. The blues has never had a better launch pad. (9.125/10)

A4. "The Do It" (2:58) a composition credited to both Adrian Guillery and Warren Bernhardt that the band performs as a quick-tempo Rhythm & Blues tune. (8.75/10)

A5. "The First Time I Saw You Baby (With Your Pretty Green Eyes)" (3:29) another jazzed-up R&B tune from Adrian that plays out like a BLOOD, SWEAT & TEARS tune--with the caveat of still more excellent instrumental performances--especially from Jeremy and Adrian's guitar. (8.875/10)

B1. "Lovely Child Of Tears" (3:55) pastoral flute with a gorgeous, dreamy, gentle West Coast psychedelic instrumental palette of acoustic guitar, double bass, "quiet" Jimmy Webb-like drums and electric keys. An unexpected and incredible song, thanks to composer Warren Bernhardt. Was beauty like this really being served up in 1968?! Though all of the performances involved add immeasurably to the song's overall beauty, those of Jeremy (via multiple tracks) and particularly Eddie strike at my heart zone. (10/10)

B2. "(Let's Go To The) Movie Show" (2:41) a really fun prosaic song in the WILSON PICKETT tradition that tells its mundane A simple, somewhat imitative song that hits the sweet spot so well I'm astonished this song hasn't become a standard covered by myriad bands since its inception. (9.5/10)

B3. "Mean Black Snake" (5:15) yet another Adrian Guillery song, this one puts on display more of guitarist Adrian Guillery's extraordinary talent as a blues guitarist and emotional and theatric blues-rock vocalist. A completely masterful song whose lyric is modeled after the famous Billy Roberts song "Hey, Joe," a folk song that Jimi Hendrix had made quite famous the year before. Such great perfromances like this only beg the "Whatever happened to …" question RE Adrian Guillery. (9.75/10)

B4. "Canzonetta" (2:25) Eddie's composition features the double bass and some percussion. Gentle, melodic, and meditative--like something from The Paul Winter Consort. (4.625/5)

B5. "Foreign Release - The Satyrs" (3:21) flute, double bass, various hand percussion instruments, and some piano, electric guitar, and strange electronic sounds all playfully dancing around like ballet dancers in one of Diaghilev's feted performances of the Ballet Russes in pre-World War I Paris. Chaotic and mischievous but ultimately spirited and light. (9.125/10)

B6. "Satyrized" (3:41) moving straight from the bacchanalia of "Foreign Release" the band opens a door from the ballet stage and comes out in the middle of a raucous crowd in a Prohibition-era back-woods or swamp-bound Juke Joint playing the rough psychedelic-tinged R&B that opened the album. Another spirited Adrian Guillery composition and performance that sounds like it could've been on The Commitments soundtrack. (8.875/10)

Though this album is by no means a Jazz-Rock Fusion album, there is a futuristic fusion of a wide range of sounds, styles, and elements going on here--on each and every song! Singer-songwriter and guitarist Adrian Guillery is incredibly talented while definitely coming from a Blues/R&B background, perspective, and preference. Warren Bernhardt's piano-keyboard and compositional style feel much oriented toward pop music sounds, styles, and structures--steering some of the band's sound toward a Smooth Jazz product. High School mates and life-long friends and collaborators Eddie Gomez and "bandleader" Jeremy Steig were definitely approaching their instrumental performances from Jazz perspectives though both were eminently malleable to fitting into any and all styles presented to them. And drummer/percussionist Donald MacDonald was definitely in for the excitement of this new and exciting experimental ride that is churning and stirring the roiling primordial brew that would become Jazz-Rock Fusion. Thus, what you have hear is the fusion of several unlikely streams and approaches that works, thanks to the seasoned/mature distance that the bandleader and his rhythm section had at the time.

92.98 on the Fishscales = A/five stars; a masterpiece of diverse song styles (most coming from the blues perspective of guitarist-singer-songwriter Adrian Guillery)--all of which illustrate the ways in which musicians from completely different musical training, traditions, or backgrounds were interested and able to collaborate. (Jeremy Steig never knew what kind of musical style he played his flute in until he started jamming with other players--and yet he sat in on the closing set of every one of Bill Evans Trio performances whenever they performed in New York City.)

JOHN ABERCROMBIE & RALPH TOWNER Sargasso Sea (1976)

Two guitar virtuosos blending their sensitive-yet-fluid styles for an album of duets. It's hard to imagine anything better. 

Line-up / Musicians:
- John Abercrombie / acoustic & electric guitars, composer
AND
- Ralph Towner / 12-string & classical guitars, piano, composer

1. "Fable" (8:41) like a stripped down "Blue in Green." Absolutely beautiful in every aspect imaginable. (19.5/20)

2. "Avenue" (5:19) veering into the Spanish/Flamenco traditions. (And these guys aren't even Spanish! That's what I'm talking about when I use the word "virtuoso": an artist's ability to easily morph into a variety of styles while convincing the listener that that style is the one and only/best style that he/she plays.) (9.5/10)

3. "Sargasso Sea" (4:01) opening with discordant chords doesn't faze me: the sounds are too good. (It's kind of hard to make a 12-string sound discordant--unless it's out of tune.) Ralph's piano tinkers away beneath both 12-string and volume-pedal-controlled electric guitar. The construct is what I imagine a song made in which the musicians only play half of what is on the song charts: skipping half of everything in each measure. The sounds being produced the electric guitar in the second half, coupled with the discordant chords being played on the 13-string, are a bit weird and, to me, nonsensical. (8.75/10)

4. "Over and Gone" (2:51) four tracks, four guitars, starting with a classical guitar soloing over the gentle support of a second strummed classical guitar, but then the duo are joined by two steel-stringed acoustic guitars playing with and within the melody lines that make up the weave of this brief but beautiful song.   (9/10)

5. "Elbow Room" (5:11) strummed steel-string acoustic guitar supports a soloing twangy, echo-effected electric guitar. Not my favorite though I love listening to creative, reactive rhythm guitar play like this. (8.66667/10)

6. "Staircase" (6:25) the same instrumental sound palette as the previous song with much gentler playing styles to both the acoustic guitar support and the twangy-electric guitar soloing. The song definitely gets better in the second half when only acoustic guitars are being played (again deploying more of a Spanish chord and melody structure and style as in "Avenue"). (8.875/10)

7. "Romantic Descension" (3:17) as suggested by the title, this is a duet of stunning beauty, supple interaction; two musicians expressing while on the absolute same wavelength. Even prettier than anything on John McLaughlin's tribute to Bill Evans, Time Remembered. (10/10)

8. "Parasol" (5:24) a song that sounds like something that might come from Pat Metheny: brilliant, erudite chord phrasing from Ralph's gentle and respectful acoustic guitar while John solos up top with his slightly twangy electric guitar. Piano joins in around the half-way point while the support guitar continues, eventually moving to the front for some Chick Corea-like soloing while the two guitars support with uncommon elegance. I'm not as much a fan of the melodies in this one, but the structure and respectful interplay is gorgeous. (9.333/10) 

Total Time 41:09

What I appreciate the most about this album is the way the artists seem to prize beauty over flash and flair: the egos never became more important than the emotional inputs and elegant results of every song. I feel as if this is such a rare achievement in the world of music. Perhaps this is one of the gifts that Manfred Eicher and his ECM label were able to bestow upon the world: a label that seemed to value the way their published product soared and resonated above money, time, and egos; where timeless beauty was prized over commerce and fame. The only negative of taking the time to get to know this album (and write its review) is the fact that I'm looking for Jazz-Rock Fusion, not so much straight folk-jazz like this.

92.92 on the Fishscales = A/five stars; an album displaying the stunning connection between two guitar masters. It DEFINITELY doesn't get any better than this! 

RIFF RAFF Original Man (1974) 

Sticking together for one more album, Roger Sutton's Riff Raff pull off another very cool Jazz Rock album--something edging its way into the Canterbury conversation. Perhaps working in Kent (where Canterbury lies) with producer Ken Burgess (who would go on to work with Tommy Eyre's next band, Zzebra) had something to do with that. RCA Victor released the album in 1974, possibly in April, possibly in June.

Line-up / Musicians:
- Peter Kirtley / guitar, vocals
- Tommy Eyre / keyboards, string synthesizer, vocals
- Roger Sutton / bass, cello, vocals
- Aureo De Souza / drums, percussion
With:
- Bud Beadle / alto, tenor, soprano & baritone saxophones
- Steve Gregory / tenor saxophone, flute, clarinet
- Joanna Newman / vocals (4)
- Joe O'Donnell / viola (1)

1. "Original Man" (7:40) this Peter Kirtley composition opens with a one minute whole band intro that borders on sounding like something from one of their Canterbury contemporaries, but then in the second minute things settle down into a very cool almost downtempo ambient electric lounge music over which  Peter sings in a bit of a Dylanesque style. Peter's lead guitar play in the middle portends the coming of Stevie Ray Vaughan as well as paying a bit of an homage to his contemporary, Eric Clapton. What a great, powerful song to open an album with! Signs of good things to come! (14.375/15)

2. "Havakak" (6:06) another really cool Jazz-Rock Fusion song that sounds like something National Health or The Soft Machine would have done. There is just such a great warmth to the feel of this palette and the soundscape it creates: no matter if the band is ripping through it (first motif), slowing things down (second motif), blues-rocking it (third motif), or vamping for Peter Kirtley's extended solo (fourth motif), the sound just wraps around you and makes you feel a part of it. And to think it was a composition that Peter brought from working with keyboard master Kenny Craddock and bassist Colin Gibson during their Mark-Almond days! (9.75/10)

3. "Goddamm the Man" (6:09) a Roger Sutton original places us in a juke joint in the Louisiana/Mississippi swamp as raw steel-string acoustic guitars pick away Jack Johnson style from both the left and right while Roger's funky bass and Aureo's drums and congas and Tommy Eyre's stanky electric piano and organ add and increase the funky stink (everybody seems to have taken on at least two tracks). I didn't think I was going to like this once it opened (especially with Roger's Swamp-style American White Blues vocals) but once it got going, once the background vocals and horn section's accents were added, the funk just took over: I'm a fan! (9.25/10)

4. "In the Deep" (3:59) Oh, my gosh! Is Robert Wyatt in the house? Peter Kirtley's second offering to the album finds us deep in the forlorn ballad forms that reluctantly came out of the Canterbury Scene. There is so much funky R&B in this--and it feels so solid and natural! Every nuance and subtlety injected, added, and feels so perfect, so genius, so easy! Shades of two of the best to ever do this style: Paddy McAloon (Prefab Sprout) and Roddy Frame (Aztec Camera) as well as the contemporary master extemporaneosifier, Richard Sinclair. Awesome and alarmingly good! (9.75/10)

5. "The Waster" (5:09) feels a bit like a continuation or variation on a palette, pace, and style used in all of the previous songs (the sound French downtempo band AIR mastered for their massive hit, << La femme d'argent >>). Roger Sutton's second composition finds him drifting more into the singing style of Eric Burdon (think "Drink This Wine"; even the lyrical format is very much like that iconic song). I love the laid-back vibe of the musicians' spacious note and chord play, a late night application of funk. Horn accents, smooth Fender Rhodes, congas and drums, background vocals, bluesy rhythm guitar, lead sax in the instrumental section, nice, easy-going two-chord construct (think Traffic's "Feelin' Alright"). It's nice, it's fun, it's warm, it's equally well performed as the album's previous material, just a little more tranquilizing. (8.875/10)

6. "Tom's Song" (4:22) the title, of course, referring to keyboardist Tommy Eyre, who is the composer of this song. Though it starts out having a little trouble defining itself and its melodies for the first minute, it eventually metes out some quite lovely music: the piano playing and synth strings support quite lush and romantic. Roger's bass and Aureo's congas are muted into the background leaving the synth strings, piano, voice, and Steve Gregory's weirdly-effected flutes in the foreground. Tom's vocal is rather gentle, doubled up, I think. It's obviously a sad love song about regret. I like it's edgy classical and jazz influences as well as Tom's genuine emotion. (9/10)

7. "Speed" (9:16) another great construct from multiple influences: the funky blues, American Southern Rock, Traffic, The Allman Brothers, and a little Van Morrison and The Doors in the mix. Another Roger Sutton original, I consider this to be not a particularly great or memorable "epic" but definitely another serious and high quality rendering. (17.625/20)

Total Time 42:41

It feels weird to be categorizing music coming from Great Britain with labels like "Southern Rock," "Swamp Rock" or "American Southern Rock" but they would not be the only British artists attracted to those types of American sounds. (Think of Alan Parker's film The Commitments and its characters' connection to the Memphis Horns and the music of Wilson Pickett.) Almost every British artist who was coming of age in the early 1960s would cite American Blues, Soul, R&B, and even Jazz as essential foundations and inspirations for their music. Roger Sutton, Peter Kirtley, Tommy Eyre, and Bud Beadle would be no different. I do, however, give the band credit for hearing and emulating a bit of their own countrymates of the Canterbury Style.

92.50 on the Fishscales = A/five stars; an eclectic and full-blown masterpiece of sophisticated and highly-nuanced original music by some sadly-under-appreciated musicians (and band). HIGHLY recommended to any professed and self-respecting music lover. This may not be a true Jazz-Rock Fusion album--or a Progressive Rock album--but it is definitely finding four musicians who are fusing their foundational inspirations into some very progressive forms and songs!

McLUHAN Anomaly (1972) 

A surprisingly-sophisticated and highly-entertaining album from a group of University of Illinois college students! Released on Brunswick Records in July of 1972.

Line-up / Musicians:
- Dennis Stoney Philips / guitar, vocals
- Tom Laney / organ, piano
- David Wright / trumpet, vocals
- Paul Cohn / flute, clarinet, tenor sax
- Neal Rosner / bass, vocals
- John Mahoney / drums, vocals
With:
- Bobby Christian / timpani (1), xylophone (1, 3), chimes (3)
- Michael Linn / drums (3)

1. "The Monster Bride" (10:36) a very proggy, early King Crimson and Yes-like opening of bass, organ, clarinet, and delicate cymbal play turns in the second minute toward proggy brass rock--more like ELP meets BS&T. In the third minute the motif starts to smooth out before suddenly switching direction toward more light and playful circus music and then, in the fourth minute there is an equally sudden directional change toward more avant/eclectic Jazz-Rock Fusion before going Crimson and Zappa in the fifth. This is all quite tightly-performed and very sophisticated and unpredictable! It must have been something to compose and then pull off as a band in 1970s studio conditions. By the time we get to the end of the sixth minute everything slows down to a cymbal-supported droning organ for a Peter Hammill-like male vocal to enter and sing. Very Crimsonian! Flute and piano pick up from here with a very pretty, almost CHICAGO-like melody presentation and passage which builds and builds, horns entering and gathering forces over bass, guitar, and drum's rhythm track. At 5:22 everything stops for some percussion-backed dramatic very theatric narration of a sexually-piqued scene of the monster's reaction and response to the birth of his bride and child--which then leads to a finishing burst of CHICAGO-like brass rock. Very interesting! The sophistication of the compositions (and ability to pull it off in the studio) is the most impressive part. (18.375/20) 

2. "Spiders (In Neals Basement)" (5:57) an accented male voice singing a sly lyric of film noir's detective-type music, like musical themes for scenes in a New Orleans juke joint or Chicago flop house. The music, performances both instrumentally and vocally are so colorful and spry. Great brassy theater music and great entertainment! Amazing that these were just a bunch of college kids! (9.333/10)

3. "Witches Theme And Dance" (9:47) a brass rock song that opens like a LIGHTHOUSE song with great pace and energy before dropping down into a slow, plodding motif over which the gang issue some great four-part vocal harmony vocals. These guys must've done music theater or high school theater music. Bassist Neal Rosner is quite impressive (and, thankfully, placed forward in the mix), sounding a lot like Goblin or PFM's bassists. More stunning theatric stop-and-start composition performed with ease and professional precision over/within which electric guitar, voices, slide flute, and other mildly scary Hallowe'en noises contribute their solos and incidentals. Nice trilly flute solo in the final third--augmented by awesome "distant" flugelhorn. The finish is just perfect for the "lesson" of the witchy allegory. Another gem of a song; these guys are so creative and so talented! (18.875/20)

4. "A Brief Message From Your Local Media" (9:59) here the band conjures up a four-part suite. It opens sounding like something from Aaron Copeland before organ, bass, hi-hat & bass drum lay down a soft carpet for a lone vocalist to begin his GREG LAKE-like "In the Court of the Crimson King" imitation. Obligatory flute joins in as "Greg" reaches his third verse--arpeggiated guitar chords and increasingly MICHAEL GILES-like drumming, as well. Around 4:30 there is a break in which narrator delivers a brief spoken-word summation of the contributions of Henry Ford to the workings of modern society, which is then followed by the development of a new motif of rather up-tempo organ- and flute-driven Jazz-Rock--which gains Latin elements in the eighth minute to give it a LEONARD BERNSTEIN West Side Story feel but then about a minute later the music moves more toward a pop/theatric-Brass Rock form similar to the snarky Hair, Godspel, and Pippen phenomenons. The music ends with a fading out calliope and military drums sound. Interesting. Though still delightfully creative and astonishingly sophisticated, the cohesiveness of this one is questionable (but, then, so is the flow of the typical radio or television programming!). (18.125/20)  
- a) "The Garden"
- b) "The Assembly Line"
- c) "Electric Man"
- d) "Question"

Total time 36:19

Jazzy, brassy Crimsonian prog rock that sounds quite mature for a bunch of Illini students--and it's so entertaining, even addictive! Incredible for a debut album!

92.44 on the Fishscales = A/five stars; a surprisingly-sophisticated and well-polished display of delightfully-entertaining compositions and performances. Who knew?! And, Whatever happened to?

BLOOD, SWEAT & TEARS Child Is Father to the Man (1968)

The world's first and pre-eminent Jazz-Rock band releases their first album, thanks to Columbia Records, on February 28, 1968. Led by multi-instrumentalist musical genius Al Kooper and former Blues Project mate Steve Katz, the band was focused and committed to sporting a James Brown-like horn section as well as orchestral accompaniments. 

Line-up / Musicians:
- Al Kooper / vocals (2, 4-7, 9-12), organ, piano, ondioline & bass drum (8), string arrangements (11)
- Steve Katz / electric & acoustic guitars, lute (6), vocals (3, 8)
- Fred Lipsius / alto sax, piano
- Randy Brecker / trumpet, fluegelhorn (5, 6)
- Jerry Weiss / trumpet, fluegelhorn
- Dick Halligan / trombone
- Jim Fielder / Fender bass
- Bobby Colomby / drums, marching drums (8), tambourine & vocals (10)
With:
- Al Gorgoni / guitar (5)
- Doug James / shaker (7)

- Fred Catero / arrangements (5), Fx (12)

- John Simon / string arrangements (1, 2, 7, 11), conductor (1, 11), arrangements (4, 6), piano (5, 10), organ (6), cowbell (10), producer & mixer
Strings:

- Gene Orloff / violin
- Leon Kruczek / violin
- Paul Gershman / violin
- Harry Lookofsky / violin
- Julie Held / violin
- Manny Green / violin
- Anahid Ajemian / violin
- Harry Katzman / violin
- Manny Vardi / viola
- Harold Collett / viola
- Charles McCracken / cello
- Alan Schulman / cello

Vocalists:

- Valerie Simpson / chorus vocals (7, 12)
- Melba Moorman / chorus vocals (7, 12)
- Leslie Gurgle / vocals (8)

1. "Overture" (1:33) talk about a Frank Zappa influence! This is classical symphonic music with a track of uncontrolled laughter (one might say, lunacy). It's taking The Beatles' George Martin effect and Frank Zappa eclectic skills and absurdism to new levels! (4.625/5)

2. "I Love You More Than You'll Ever Know" (5:58) blues-based organ, bass & drums with electric rock guitar and very skilled lead vocals. What a great James Brown-like horn arrangement, great female background vocal "ooo's," great guitar sounds (both lead and rhythm) as well as a very zoned-in lead vocal of some powerful lyrics from Al Kooper. The finale is incredible! I wish it weren't faded out. Wow! This kind of perfection I was not expecting (from a debut album launched in 1968). (10/10)

3. "Morning Glory" (4:15) a solid, polished, professional song that does little to (9/10)

4. "My Days Are Numbered" (3:18) a song whose Soul gravity predicts the band's monster hits of the near future as well as sounding exactly like Paul Weller's transitional music from The Jam to The Style Council, it's is blessed with an amazingly intricate overal construct of multiple motifs all arranged and performed with such feeling, plus possessing an amazingly-catchy chorus. (9.75/10)

5. "Without Her" (2:41) the jazzy/lounge side of the band with a poppy Brit-Pop swing to it and more distinctly-defined individual instrumental sounds and performances (piano, bass, jazz drums, trumpet, sax, close intimate vocal performance) as well as Jobim-like Spanish guitar play serving as the rhythm guitar. Awesome both musically and as an brainworm. (10/10)

6. "Just One Smile" (4:37) another wonderfully-arranged and -rendered musical landscape with more of Jim Fielder's awesome electric bass play, Al's vulnerable and emotional vocal and incredible horn section . Weirdly, the chorus is the song's weakest element as it doesn't quite deliver the promise that the verses seem to build toward. I love the little Baroque interplay of the lute and keyboard in the instrumental passage in the first half of the fourth minute! (9.375/10) 

7. "I Can't Quit Her" (3:39) opening with some Burt Bacharach like piano play of a few chords before the bass and drums enter, followed soon thereafter by Al's reverb-treated vocal and the accents of the Beatles-like horn section. Strings and female choir back the first chorus section before routing the band back into a repeat of the verse section. Then around 2:30 there is a powerful transition to a heavier, more emotional instrumental section which plays out to the final fade-out of the music with no other return of the vocal/lyrics. Awesome! What creative song construction! (9.25/10) 

8. "Meagan's Gypsy Eyes" (3:24) starting out with gently-picked acoustic guitar the song then amps up with the arrival of horns and a weird keyboard. There are ample effects applied to the anachronistic keys and doubled-up vocal track, this song travels with a fairly thin and simple psychedelic sound palette until the chorus when the horns and strings get involved. This sounds a lot like something from DONOVAN, The 13th Floor Elevators, or even one of the British Baroque Pop making their way across The Pond. Steve Katz' lead vocal is great for the delivery of the song's folkie-psychedelic lyrics but he's nowhere near as strong or powerful as Al Kooper; he's more of a gnome-like delivery person. Still, this is a cool, interesting, and, ultimately, memorable song. (9/10)

9. "Something' Going On" (8:00) pure JAMES BROWN bluesy R&B with each and every instrument being asked to play at their loudest and most concise/compact forms while Al sings a purely blues-oriented . Steve Katz' electric guitar solo in the third minute is surprisingly loud while also benefitting from enough distortion to make it sound like something between Eric Clapton and Jimi Hendrix. Even Steve's ensuing rhythm guitar play behind Al's piano solo in the fourth minute is loud: way louder than Al's piano. The horns, too, are really loud as Al returns to the vocal, singing as if he's trying to incite some loud audience participation/response. Tenor sax starts to solo beneath Al's call & response-like vocals. At the end of the seventh minute the music thins and returns to the form of the opening section for the band and Al to pull it to a close--but then they really ramp things up again for the finish! Great drumming from Bobby Colomby! (13.25/15) 

10. "House In The Country" (3:04) a peppy little song that with multiple vocal tracks that sounds like something from a sophisticated British pop band (not The Stones or Who, more Beatles) and then they inject some of the the Zappa-like absurdist humor with ancillary voice-acted tracks. Interesting. (8.875/10)  

11. "The Modern Adventures Of Plato, Diogenes And Freud" (4:12) delicate voice with chamber strings support again remind one of British Baroque Pop bands as Al sings over the top with a sincerity and literacy that sounds/feels like contemporary social commentary poetry being sung (but, again, previews an artist like Paul Weller). (9/10)

12. "So Much Love / Underture" (4:43) a bit of a PROCOL HARUM sound and feel to this as Jim and Bobby lay down a funky David Axelrod-like rhythm track with Al's organ and Steve's twangy rhythm guitar strokes. Horns and background choir vocals join in from time to time, usually in bridges and sometimes in the verse passages and then over the choruses. For the final 90 seconds there is a simple pulsing organ note punctuated by brass chord blasts before the strings and weird organ oscillation sounds join in. Could've come from a West End musical. (8.75/10)

 
Total time 49:24

There are many times when the clever, sophisticated songs on this album remind me of the genius of artists like The Moody Blues, Pete Townsend, Paul McCartney, Brian Auger, and James Brown.

92.40 on the Fishscales = A/five stars; a ground-breaking masterpiece of R&B/Rock Fusion (what we've all come to refer to as "Brass Rock"), one of the finest debut albums to ever explode onto the 1960s music scene.

STAN GETZ Getz/Gilberto (1964)

Don't overlook the fact that both Antonio Carlos Jobim and Astrud Gilberto grace this album--it's not just Stan Getz and Joao Gilberto.

Line-up/Musicians:
- Antonio Carlos Jobim / guitar, piano
- Astrud Gilberto / vocals
- Joao Gilberto / guitar, vocals
- Milton Banana / drums
- Stan Getz / tenor sax
- Tommy Williams / bass

A1. "The Girl From Ipanema" (5:15) can a song get more perfect than this one?! (10/10)

A2. "Doralice" (2:45) Joao Gilberto is a smooth singer but not quite as smooth as Stan Getz is with his breathy tenor sax. Sexy! (9.125/10)

A3. "Para Machuchar Meu Coração (To Hurt My Heart)" (5:07) another bossa nova song that sounds like a classic with a slightly louder presence given to both the percussion and to Antonio's piano. Even Joao's voice is mixed much more into the foreground--as if he's singing to you while you're in his arms on the dance floor! Also unusual for the bulk of the album is the amount of time that the singing is given versus that to Mr. Getz' sax (or S. Jobim's piano). I have to admit that this song is not my favorite--the melodies don't grab me as well as many of the album's other songs--and yet the smooth, perfectly-arranged and -mixed instrumental performances seem flawless. (8.875/10)

A4. "Desafinado" (4:05) another iconic song, sung so smoothly by Joao Gilberto over the perfect Spanish guitar and piano tinkling support. At the end of the second minute Joao stops singing and Stan jumps right in over the exact same accompaniment and motif, playing rather closely with the main melody, only branching out on his own in his second time through the verse. Beautiful (which is an understatement). The finale with Joao's vocalese bass notes and the little is  (9.5/10)

B1. "Corcovado" (4:15) Astrud and Joao take turns spinning their magical voices over Jobim's piano and Joao's Spanish guitar while Tommy Williams and Milton Banana hold the line beneath all of them. Stan merely makes appearances in-between the vocals. Beautiful. Probably a hit in Brasíl as popular as "The Girl … " (9/10)

B2. "Só Danço Samba (Jazz Samba)" (3:30) another beautiful and subtly nuanced romantic dance tune with Joao performing the lead vocal over piano, plucked guitar chords, bass and brushed drums with Stan providing a longer, more impassioned sax solo in the second and third minutes. Great melodies, rhythm, and some flashy sax play from the maestro. (9.125/10)

B3. "O Grande Amor" (5:25) this one opens with some plaintive sax play with minimal support from Jobim's piano beneath. Then the rhythm section joins in, ramping the pace up into a danceable bossa nova. At the 1:15 mark Stan backs down as Joao enters singing in a much lower (almost strained) voice. He sounds serious and contemplative. Stan returns in the third minute for the next solo, eventually yielding to Antonio's piano for a bit before retaking the lead for the final minute. Nice. I can definitely see why Stan Getz was so popular: he's so smooth and respectful of the audience's love for melody and emotion. (9/10)

B4. "Vivo Sonhando" (2:52) the usual lineup and sound palette with Joao opening up in the lead with his singing, by the end of the first minute it turns to Stan's sax to take the lead, and, I swear, he out smooth's one of the smoothest voices I've ever heard with a very breathy, delicately performed solo to the song's end. (9.25/10)

Total time: 33:14

How can one find fault with this sublime and pacifying collection of songs? And does anyone else notice the remarkable similarities in Jobim's piano playing style to that of modern master, Diana Krall? No wonder Ms. Krall has covered so many bossa nova, samba, and other Latin styled songs. Again, this, my first direct exposure to the saxophone play of Stan Getz, definitely conveys many reasons for Señor Getz's tremendous popularity and place in the history of both jazz and popular music.

92.34 on the Fishscales = A/five stars; a masterpiece of absolutely sublime genre-blending, cross-cultural music. How could one deny the popularity of bossa nova in the United States when albums like this were being made?

MANDRILL Mandrill Is (1972)

After the nearly-perfect Latin-infused Jazz-Rock Fusion debut album of the previous year, the Wilson Brothers' band continued touring and polishing their sound while also fine-tuning their vision of where they wanted to go (how their music would evolve). Mandrill Is was released by Polydor Records one year to the date after the release of the debut album: April 1, 1972.

Line-up / Musicians:
- Carlos Wilson / trombone, vocals
- Lou Wilson / trumpet, vocals
- Ric Wilson / saxophone, vocals
- Claude "Coffee" Cave / keyboards
- Omar Mesa / guitar
- Frederick "Fudgie Kae" Solomon / bass
- Charlie Padro / drums

1. "Ape Is High" (5:36) the immediate feel I get from the first few seconds of this song is that the band is trying to ride on the coattails of RARE EARTH's massively popular hit from the previous year entitled, "I Just Want to Celebrate"--and this feeling sustains itself with its whole-group choir chant-singing and JoeWalsh-like guitar strumming from rhythm guitarist Omar Mesa (who's solo/lead work later in the song is quite good). The horns suddenly appear in the second minute, providing accents to the vocal lines in the chorus. Kofi Cave's Hammond organ play becomes more prominent in the third minute, culminating in a nice solo in the fourth before Omar's guitar turns standard Rock. Nice finish. I can't help but rate this upward due to the tight arrangements and performances. (8.875/10)

2. "Cohelo" (1:45) a gentle Latin groove that is led by Ric Wilson's flute and backed by the "What's Going On"-like party sounds and emerging "Co-HE-lo" vocals going on in the background. I love it! (5/5)

3. "Git It All" (4:30) another song that feels as if it was contrived to come from a White man's Rock perspective (which feels somewhat false and pretentious to these musicians) as the bass line, guitar-and-organ chord and sound choices as well as the foundational drum pattern feel so watered down for the arousal of primordial martial aggression. The rest of the band--and especially the party choir--feel as if they're into it but there is little of the band members' Panamanian roots coming through in this music (not even from the horn section); it all feels affected, adaptational, and manufactured. (8.75/10)

4. "Children of the Sun" (4:57) flute and zither-like chord strokes open this awesome song, covering nearly the full first two minutes before bursting into a flurry of dynamic Jazz-Rock. But then everything calms down after the burst into a gentle melodic fare with soft vocals for about 90-seconds before the Afro-Cubano/Salsa horns shake everything up with some wake-up bursts of sound--which results in the incitement of the rest of the musicians to step it up a couple of notches. The result is some of the coolest Latin-Jazz-Rock you're likely to ever hear! But, alas! it doesn't last! The deep vocals return (within the Salsa party music) and then come to an end very shortly thereafter. A strange but ultimately impressive (and gutsy/ingenious) song. (9.5/10) 

  
5. "I Refuse to Smile" (4:06) a pretty song that is styled like a combination of MARVIN GAYE's What's Going On fare and other Motown (The Temptations) sounds. The musicianship is so impressive! (The vocals a little less so.) (8.875/10)

6. "Universal Rhythms" (3:23) a "song" that opens with a minute of typical conversation between two young children (one older and bossier, the other younger and less experienced). It is then interrupted by the appearance of "The Enchanting Wizard" to tell the children about the "rhythms of the Universe." Colors, dreams, truth, emotion, sound, past, present, and tomorrow, peace. Aquarian evangelsim and nourishment.  

7. "Lord of the Golden Baboon" (3:34) a jam founded in funk-rock but expanded by the array of Afro-Latin percussion instruments and Latin melody and chord progressions and, later, punctuating accents of the horn section. Though still a little SANTANA-inspired, the band is starting to make it their own. (9.125/10) 

8. "Central Park" (4:06) sounding like it comes from an Off-Broadway hippie-consciousness-raising musical like Hair or Godspell as well as a little of Chicago and Blood, Sweat & Tears. The instrumental section that starts at 2:45 is so like CHICAGO but the orchestra strings and vocal keep it anchored on the stage of musicals. As a show-tune it really works! (9/10)

9. "Kofijahm" (3:38) the album's second composition from keyboard maestro Clause "Coffee" Cave is a true tribute to the airy Caribbean music that celebrates its population's African roots. Now, this is a true Latin-oriented expression of the spirit of Jazz-Rock Fusion. (9.75/10) 

10. "Here Today Gone Tomorrow" (4:18) a song based on a four chord cycle of power chords that sounds as if it were coming from a Rock 'n' Roll band like Cream, Grand Funk Railroad, or Crosby, Stills, Nash & Young, it is peppered with nice/tension-relieving bridges of gentle flute and xylophone but overall its really a rocker. It's even got the wordless female vocals to back up the aggressive lead vocalist. (8.75/10)

11. "The Sun Must Go Down" (3:25) wind, gentle and spacious guitar chords with a mellifluous male vocal singing over the top, the song sounds, and continues to sound, like another Off-Broadway expression of mantras and colloquialisms of the Aquarian Age's hippie-speak. It is, however, a good, solid song no matter its orientation. (9/10)

Total Time 43:18

Unfortunately, the band has chosen a more lively, live-performance-friendly WAR-like direction for its musical direction. It's all very skillful and polished as well as being very conducive to vociferous audience participation, but it is, to my mind and ears, no longer befitting the categorization of Jazz-Rock Fusion (but still qualifying for the Jazz-Rock micro-genre). (I blame the loss of original bass player Bundie Cenas, being replaced by Frederick "Fudgie Kae" Solomon, as the core reason for the change in the band's foundational sound.)

92.24 on the Fishscales = A/five stars; though not a Jazz-Rock Fusion album, this eclectic mix of styles is presented in such a well-composed and beautifully-performed fashion that I cannot deny it its masterpiece recognition. As a whole, however, I would happily and willingly admit Mandril Is into the micro-genre of Jazz-Rock music. I just want the band to feel more free and compelled to express themselves more naturally--from the Afro-Cubano music of their Panamanian roots.  

THE NEW ELVIN JONES TRIO with Joe Farrell and Jimmy Garrison Puttin' It Together (1968)

Leaving The John Coltrane Quartet did nothing to slow Elvin down: the man remained as active, prolific and productive as ever. Conjecture as to what role his marriage to manager/pianist Keiko Okuya has in all this (the Yoko Ono effect?), but it is definite that Elvin's interests and influences lay beyond the parameters of straightforward American Jazz. Recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey on April 8, 1968, Puttin' It Together was released by Blue Note Records in September.

Line-up / Musicians:

- Elvin Jones / drums
- Joe Farrell / tenor saxophone, soprano saxophone, flute, piccolo

- Jimmy Garrison / bass

A1. "Reza" (7:10) a fairly straightforward Hard Bop cover of a tune composed by Edu Lobo and Ruy Guerra. Solid performances from three virtuosi that lack a little melody and/or lustre. (13.25/15)

A2. "Sweet Little Maia" (7:43) a nice, slow paced, spacious tune that is very much driven by Jimmy Garrison's oh-so-cool, seemingly-laid-back bass play. Being his composition, I guess he has a right to dictate pace and vibe. There are whole minutes that pass with Jimmy soloing a cappella but you barely notice the absence of his collaborators because his performance is so fulfilling, so compelling, so commanding. At the end of the seventh minute Elvin and Joe rejoin to close things out as if the bar is already empty and they just need to finish things off so that they can get out of there. (13.675/15)

A3. "Kei Ko's Birthday March" (6:47) a tribute to his wife that, quite naturally, contains a prolonged drum solo to express his love and respect for his wife and her Japanese culture through the language he had known and loved the longest: the parade-like expression of the marching band that he had loved as a child and which prompted his entry and involvement in music (even with his stint with the Army)--especially in high school. (13.375/15) 

B1. "Village Greene" (5:05) a cool composition from Southern Jazz musician and composer William Greene in which Elvin, Jimmy, and Joe each seem to travel their own rather unique pathways while remaining totally tunnel-fixated on their own style and melody line rather than worrying about the harmonic interplay and weave of the sound. To maintain such laser focus for five straight minutes! So admirable! (9/10)

B2. "Jay-Ree" (3:45) a fully-interwoven trio song composed by Joe Farrell on which Elvin expresses more through cymbal play that his usual tom-pounding punctuation marks. Joe's tenor sax play is really impressive on this: flying through almost every second of it as the leader and driver. Brilliant song! Jazz does not, in my opinion, get more impressive than this! (10/10) 

B3. "For Heaven's Sake" (5:05) the band's cover of this 1946 classic feels so reverential--as if they're recreating it with the respect and precision of a classical music composition. Quite lovely--and impressive.(with Elvin playing only brushes). Joe's flute playing is so light and clear, so delicate and fluid, and perfectly melodic without being syrupy. (9.75/10)

B4. "Ginger Bread Boy" (5:10) opening with some more primal tom play (think The Beatnick drum music on a couple of episodes of The Flintstones). Once Jimmy and Joe join Elvin we get a smooth flowing swing song with Jimmy's constantly moving finger walking and Joe's Another amazing song--this one composed by Jimmy Heath and covered by Miles' Second Great Quintet's Miles Smiles album just two years before. (9.333/10)

Total Time: 41:20

While the music of this album definitely does very little to cry out "Jazz-Rock Fusion," the performances coming from each of the Jazz virtuosi are highly creative and experimental--which lends fuel to the kind of explorational experimentation that fomented J-R F.

92.22 on the Fishscales = A-/five stars; an excellent minor masterpiece of boundary-testing Jazz.

JUKKA TOLONEN Summer Games (1973)

Finnish guitarist Jukka Tolonen takes another turn as band leader, rendering here more of his folk-tinged ideas into beautiful prog-pop songs.

Line-up / Musicians:
- Jukka Tolonen / electric & acoustic guitars, Mini-Moog, tabla, piano, composer & arranger
With:
- Pekka Poyry / soprano (1, 2, 6) & alto (5) saxophones, flute (2-4)
- Jussi Aalto/ trombone (1, 4-6)
- Erkki Koskimo / trombone (2, 3)
- Paroni Paakkunainen/ flute (1, 5, 6)
- Erik Danholm/ flute (2)
- Heikki Virtanen / string bass (1), bass (2-5)
- Esko Rosnell / drums (3-5), percussion (1)
- Reino Laine / drums (2)

1. "Wedding Song" (4:50) more beautiful anachronistic folk-tinged music from Jukka (like "Mountains" and "Wanderland" from his 1971 debut solo album). (9.5/10)

2. "A Warm Trip With Taija" (8:45) borrowing a bit from The ZOMBIES "She's Not There" in the way of guitar chord progression and poppy hippie feel, Jukka sets free his buddies Pekka Poyry and Erik Danholm on flutes as well as bassist extraordinaire Heikki Virtanen and bongo-percussionist Reino Laine. It's as if Blood, Sweat & Tears were merged with German prog folk band EDEN! (18.875/20)

3. "Impressions of India" (5:27) funny how Jukka's impressions of India start out with some Andalusian-sounding classical Spanish guitar! Having the tabla-sounding Moroccan clay hand drum enter in the second minute helps give it a little more Indian, but the Flamenco guitar and Western flute melodies don't help. He's trying to reach Indian melodies but just keeps missing. Still, the performances are all excellent. And one simply can't fault a young idealist for trying! (8.875/10)

4. "Thinking Of You In The Moonshine" (6:28) this dude is such a romantic! How can one not love him?! Though this song drags a bit like a New Orleans funeral march, the prominent presence of the trombone almost gives this a chamber-classical feel. In the fourth minute everybody seems to drop out, leaving only guitar and then a Damon Albarn-like hand drum pattern which is quickly joined by a variety of jazz-rock instruments, including the wah-wah guitar, electric bass, trombone and flutes, and full drum kit. Jukka delivers a Mark Knopfler-caliber guitar solo over this ensemble to fill out and finish the song. (8.875/10) 

5. "Summer Games" (5:25) bass, drums, piano, and percussion are joined by flute and alto sax and, later, trombone, giving this bossa nova-like song a Burt Bacharach sound and feel. In the second half of the second minute, Paroni Paakkunainen gets the first true solo, on his flute, which is then followed by Jukka on the piano,  Pekka Poyry's alto sax, more piano (or is it a Moog?), before trombone and horn section return us to that Burt Bacharach world--all the while Jukka's acoustic and electric guitars contribute to the rhythm tracks below. Very upbeat and cheery song. Me like! (But then, I'm a sucker for anything Burt Bacharach-like.) (9.3333/10)

6. "See You (Missing My Crazy Baby)" (3:36) another beautiful Prog Folk tune that could accompany many a wedding party. (9/10)

Total Time: 34:31

I have to admit to being quite surprised at how little flash and flare Jukka exposes us to on this album that comes from his guitar. I think he is content to let his compositions speak for his talent and skill rather than his virtuosic guitar skills. I like this dude! At the same time, this is not an album that I could ever deign a Jazz-Rock Fusion album; it's more Prog Folk, World music, or Crossover prog to my ears and mind.

Is there something about Finnish technology or economy that prohibits their music artists from pressing anything on vinyl that is longer than 17-minutes per side? Just wondering (as so many early rock, jazz, and prog albums I review that come from Finnish record companies seem to have that brevity in common).

92.08 on the Fishscales = A-/five stars; a minor masterpiece of Crossover or Pop-Folk-oriented Prog; definitely an album of finely crafted and beautiful and soothing music (though by no means what I'd consider "Smooth Jazz").

KOOL AND THE GANG Light of Worlds (1974)

An album of highly-sophisticated, layered, jazzy funk that was recorded At Mediasound ; released by De-Lite Records in September of 1974.

Line-up/Musicians:

- Dennis Thomas / Alto Saxophone, Clavinet, Congas, Percussion, Lead Vocals

- Robert Bell / Bass, Vocals

- George Brown / Drums, Percussion, Vocals, Gong

- Claydes E. X. Smith / Guitar

- Edward Pazant / Oboe, Alto Saxophone

- Rick West / Piano, Lead Vocals, Electric Piano

- Ronald Bell / Tenor Saxophone, Synthesizer [Arp], Clavinet, Percussion, Bass, Piano, Vocals, Synthesizer [Arp 2600], Flute [Alto], Clavinet, Mellotron

Strings – Noel Pointer
- Robert Mickens / Trumpet, Flugelhorn, Vocals

- Alvin Pazant / Trumpet

And:
Additional vocals from Alton Taylor, Herb Lane, and "Champane" Penni Saunders as well as;

Backing Vocals from Herb Lane, Kenny Banks, Richard Shade

A1. "Street Corner Symphony" (4:35) nice multi-layered jazz-funk with excellent musicianship coming from every person involved. (9.125/10)

A2. "Fruitman" (5:22) a kind of shlocky song that seems to indicate that Kool felt an obligation to give back to its community--its families and friends, even--here offering nutritional information/advice for them to --like a public service announcement from an episode of Sesame Street. (8.75/10)

A3. "Rhyme Tyme People" (3:21) this social message sounds like a speech of wisdom from Sly & The Family Stone. Very funky, very much like a halfway point between "Thank You (For Lettin' Me Be Myself)" and "Hollywood Swinging." (9/10)

A4. "Light Of Worlds" (4:23) part Funkadelic, part Gospel funk, part I love the interplay of the bass, clavinet and rhythm guitar. The choral vocals are actually well done and nicely fitting (as opposed to being over the top, as it would have been easy to do). I like the presence of the children (or young girls) as a complement to those of the band's choral chants. (9.25/10)

B1. "Whiting H. & G." (3:20) great music with some awesome synthesizer leading over the groovin' T.S.O.Philadelphia weave of piano, guitar, bass, and percussion. Awesome. Another song I could listen to all day and all night. (9.5/10)

B2. "You Don't Have To Change" (2:40) an awesome synth-rich dream-soul intro sets up a nice little strings-backed soul groove that could've come from bands like The Stylistics, The O'Jays, or even Brian Auger's Oblivion Express. (9.375/10)

B3. "Higher Plane" (4:59) another chance to take a Sly sound and lift it up with the technological advances of five years (clavinet, synths, recording effects, etc.) (9/10)

B4. "Summer Madness" (4:16) one of the greatest mood sucking songs of all-time. (11/10)

B5. "Here After" (2:55) a kind of prophetic inspirational speech clothed in theater-like music. Kind of corny but, given the benefit of the doubt for sincere good intentions I'll mark it up. (8.875/10)

Total Time: 36:05

The overwhelming message I get from the music on this album is that Kool & The Gang want to help out--they want to be a light to the world, to inspire health, positivity, and healthy life choices--especially to their own Black inner city world (Jersey City, the boroughs of New York City) and the worlds of other cities like them.

92.08 on the Fishscales = A-/five stars; a wonderful if-dated/antiquated and now squirm-inducing mega-dose of Aquarian positivity.  

FLAMENGO Kuře v Hodinkách (1972)

Great Jazz-Rock from Czechoslovakia.

Line-up / Musicians:
- Jan Kubik / saxophone, flute, clarinet, vocals
- Pavel Fort / guitar, vocals
- Ivan Khunt / organ, vocals
- Vladimir Guma Kulhanek / bass guitar, vocals
- Jaroslav Erno Sedivy / drums
- Vladimir Misik / vocals, guitar

1." Kure V Hodinkach (Introdukce) / Chicken In The Watch (Introduction)" (2:30) what a warm and inviting saxophone sound and style with an equally warm hard rock sound palette to match. Organist Ivan Khunt presents an astonishingly saxophone sound. Bassist Vladimir Guma Kulhanek is so in the pocket! And Jan Kubik's used of multiple tracks for his wind instruments all help to create such a warm envelope of sonority! (4.5/5)

2. "Rám Prístích Obrazu / Frames Of Future Picture"s (4:00) reverting more into a heavy blues-rock pastiche, with Jan Kubik (or Vladimir Misik)'s rock vocals the band's music certainly takes on much more of a BLOOD SWEAT AND TEARS-like blues-jazz-rock sound. Except for the drums, the instruments and voices are very well recorded and rendered. Great JC Superstar-like scream from Jan to close it out. (8.875/10)

3. "Jenom Láska Ví Kam / Only Love Knows Where" (2:55) more heavy blues-based jazz rock with some very URIAH HEEP similarities. Nice guitar work in the solo during the end of the second minute. I like this well enough though it's not the Jazz-Rock Fusion I came here for. (8.875/10)

4. "Já A Dým / Me And The Smoke" (4:55) flute and acoustic guitar paint a very plaintive folk feeling in the intro, then Jan joins in singing with a emotive performance that suddenly turns at 1:25 into JTULL territory before landing in some beautifully melodic SANTANA turf. Great fully-prog song. My favorite song on the album. (10/10)

5. "Chvíle Chvil / Moment Of The Moments" (4:20) more rock-oriented jazz-rock on which Ivan's organ is the most notable yet--despite the leadership of the saxophone and guitars. Another song that plays out more like a URIAH HEEP, Led Zeppelin, or Black Sabbath song. It is, however, pretty and memorable. I even like the use of left and right channels to compartmentalize some of the instruments. (9/10)

6. "Pár Století / Some Centuries" (6:30) pensive electric guitar chords picked and plucked open this song giving it quite a full latency of potential energy--potential that is soon revealed, in small pieces, through, first, vibraphone, then bass, spaced out tom-tom and delicate cymbal play, and "background" reverbed lead vocal. Great melodies and harmonic relations throughout! At 4:15 the band switches gears: traveling down a light, jazzier, happy-go-lucky side path for a flute-led and vibraphone-dominated motif. Then they switch back into a heavier version of one of the earlier motifs for the closing. Awesome construct! My second favorite song. (9.75/10)

7. "Doky, Vlaky, Hlad A Boty / Dockyards, Trains, Hunger And Shoes" (4:30) another jazz-rock tune: a rock form displayed with jazz clothing and accoutrements. The lyrics sung in the band's native tongue give it a familiar FERMÁTA or SBB feel though served over a kind of LIGHTHOUSE/URIAH HEEP music. I love the interplay between the lead guitar and saxophone in the final couple minutes. (8.875/10)

8. "Stále Dál / Further On" (3:15) a song that opens like some kind of cross between JTULL and CREAM. The dual ejaculation of the melodies in the chorus are examples of pure rock bliss. (9.125/10)

9. "Kure V Hodinkach / Chicken In The Watch " (5:30) the title song, in my opinion, always raises expectations. This one lives up to any expectations--especially when based on the buildup after the previous eight songs. This is a most excellent song in many aspects: sound palette, construct and performance, creative idoisyncracies, vocal and melodies, and sound engineering. This song would have received heavy radio play on the album-oriented FM stations in my hometown of Detroit back in the day. Great song. My other top three. (9.25/10)

Total time: 38:25

Not a Jazz-Rock Fusion album, more like a hard rock album with jazz-rock tendencies, whatever it is it is an example of excellent songwriting, performance, and sonic rendering. 

92.06 on the Fishscales = A-/five stars; a most excellent minor masterpiece of jazz-rock-tinged heavy progressive rock. If you like Uriah Heep, Jethro Tull, Lighthouse, or the heavier rockers of the early blues--rock and progressive rock scenes, you will love this! 

THE MOTHERS OF INVENTION One Size Fits All (1975)

Released on June 25, 1975 on the DiscReet label. Frank's cynical take on the Aquarian Age's preoccupation with aliens, outer space, and time travel. 

Line-up / Musicians:
- Frank Zappa / guitars, lead (4, 6, 9) & backing vocals, producer
- George Duke / keyboards, synthesizers, lead (1, 8, 9) & backing vocals
- Napoleon Murphy Brock / flute, tenor saxophone, lead (5, 8) & backing vocals
- Tom Fowler / bass
- Chester Thompson / drums, FX & voices
- Ruth Underwood / vibes, marimba, percussion
With:
- Captain Beefheart / harmonica (7)
- James Youman / bass (2)
- Johnny "Guitar" Watson / backing vocals (7, 8)

1. "Inca Roads" (live *) (8:45) an amazing song: its suite-like construct, incredible musicianship, and even out-of-this-world concept. Ruth Underwood, Chester Thompson, George Duke, Tom Fowler, and Frank Zappa are really that good! (20/20)

2. "Can't Afford No Shoes" (2:38) what starts out sounding like TODD RUNDGREN takes some turns Excellent musicianship from everyone involved: bassist James Youman, pianist George Duke, Chester Thompson, and raunchy Southern slide guitar from Frank. The homage to (parody of?) ZZ Top is quite prominent as well. (8.875/10)

3. "Sofa No. 1" (2:39) bluesy piano rock sounding like Leon Russell or Dr. John opens this before Ruth's marimba bridges it to Bill Withers' "Lean on Me." George's synth paired with Frank's guitar at the end of the second minute is pretty cool. (4.625/5)

4. "Po-Jama People" (7:39) Frank employing his intimate/conspiratorial SLY STONE voice. Nice bluesy power rocker with some great lead guitar soloing as well as bass, piano, and drum play. I'm not sure what/who he's singing about. (13.75/15)

5. "Florentine Pogen" (live *) (5:27) quite a polished and complicated rocker with some very interesting vocal/lyric delivery work (from wind player Napoleon Murphy Brock and others). (9.125/10) 

6. "Evelyn, a Modified Dog" (1:04) Franks singing a silly song over George Duke's spinette/harpsichord -sounding saloon tack/honky-tonk piano. (4.375/5)

7. "San Ber'dino" (5:57) redneck Rock 'n' Roll! Quite the Road House pleaser! (8.75/10) 

8. "Andy" (6:04) another Zappa fan favorite that does impress me enough to keep coming back to it. If any of the songs on this album truly qualify for the Jazz-Rock Fusion categorization, this might be it--despite the swamp blues in the second minute. There are so many motifs explored in this song! And they're all incredibly complex and shifting constantly. Some amazingly virtuosic guitar playing in the fourth minute. (9.333/10)

9. "Sofa No. 2" (2:41) another solid blues-rock-based tune which uses George's Moog bass, piano, and German lyrics! Yes! The vocalists (Frank and George) sing auf Deutsch singen! I'm sorry, I can't help but both laugh and marvel! (9.125/10)

* Recorded at KCET TV Los Angeles (except guitar solo on 1 was recorded live in Helsinki 1974)

Total Time 42:54

This is quite an unusual experience for me in the context of Frank's other 1970s work in that most of these songs feel finished, even polished! 

92.06 on the Fishscales = A-/five stars; a minor masterpiece of . . . music; perhaps Frank's greatest album of the 1970s (or, at least, his most consistent collection of polished songs).

DIDIER LOCKWOOD New World (1979)

French violinist records an album for MPS in the Netherlands with an international all-star cast. Here we find Didier deciding to reach backward toward a more classic acoustic-oriented jazz, sounding very much like the music Stéphane Grappelli and the great European jazz violinists of the 1950s and 60s. Didier even goes so far as to cover several jazz "classics"--as if he feels he has to prove himself to the Jazz community. New World was released in September of 1979.

Line-up / Musicians:
- Didier Lockwood / violin, bass-violin
With:
- John Etheridge / guitar (5, 8, 9)
- Jean-Michel Kajdan / guitar (5)
- Gordon Beck (Nucleus, Allan Holdsworth) / piano
- Francis Lockwood / piano (6)
- Niels-Henning Orsted-Pedersen / bass
- Anthony "Tony" Williams / drums

1. "Vieux Pape" (5:19) opening with a sound palette and style that sounds completely acoustic Sixties, this Didier composition is highly melodic and richly-full with the busy, virtuosic jazz musicianship of pianist Gordon Beck, bassist Niels-Henning Orsted-Pedersen, and drummer extraordinaire, Tony Williams while Didier puts in a performance that would make him worthy for competition with the great Jean-Luc Ponty. Beck's wonderful piano play is capped by a solo that finds me thinking of the late, great Chick Corea. Lovely! Then Niels-Henning Orsted-Pedersen takes a turn in the spotlight and he's also quite wonderful--projecting lovely melody despite moving along the fretboard of his stand-up double bass at breakneck speeds. (9.25/10)

2. "Autumn Leaves" (5:24) a fully-jazz expression of the jazz classic (which was originally composed by Frenchmen Joseph Kosma and lyricist Jacques Prévoert when titled "Les feiulles mortes"--meaning "dead leaves"). Great performances--especially if you like high quality jazz musicianship. Also, I never really realized how wonderfully this song's main melody lends itself to expression on the acoustic violin. A kind of revelation! Gordon Beck's pristine solo in the second minute is so clean, crisp and yet beautiful. And Niels-Henning Orsted-Pedersen's walking bass line so perfect for holding it all together. (9.3333/10)

3. "La Manufacture De Sucre Engloutie" (3:50) gorgeous piano chord play opens this song--a composition credited to both Gordon Beck and Didier. Listening to this song truly is like being in the presence of humans possessed with a direct line to otherworldly beauty. I can definitely see how anomolous music mathematician Allan Holdsworth forged such a deep and lasting bond with Mr. Beck. (9.75/10)

4. "New World" (5:04) composed by Didier's brother, Francis, the ensemble really has fun with this one--especially, methinks, Didier and Tony. A great listen of impressive musicianship. (9.25/10)

5. "The Last Blade Of Grass" (4:26) the first song to sound a little like J-R Fusion with electrified violin, electric guitars, this song is attributed to guest fusion guitarist Jean-Michel Kajdan. Jean-Michel's performance is particularly impressive for its fiery dexterity as well as emotional expressiveness. Matter of fact, the rest of the band seem rather sleepy when set beside J-M's play: as if they're all stunned, standing in jaw-on-the-floor shock, as they go through their motions perfunctorily while Jean-Michel plays. In fact, it takes a full 20-to-30 seconds after Jean-Michel pauses for the others to re-focus and put some passion back into their own play--including the next soloist himself (Didier)! In the end, everybody gets up to speed and the song finishes well, but those first two minutes were extraordinary! (9.3333/10)

6. "My Memories Of You" (5:40) interesting that this Francis Lockwood-penned song title and sound, chord progressions all sound like a song of a similar name that would find its way onto Vangelis Pappathanassiou's soundtrack for the 1982 sci-fi film Blade Runner. This duet between the Lockwood brothers finds the one using electrified violin, the other using a standard grand piano. (8.875/10)

7. "Giant Steps" (2:10) an interesting sprint through one of the giants of jazz history. (4.5/5)

8. "Pent-up House" (2:31) a Sonny Rollins song that Django Reinhardt and Stéphane Grappelli made their own on which guitarist John Etheridge quite capably takes the role of Django, while Didier, of course, takes that of Stéphane. Quite a respectful and faithful rendering. (9.125/10)

9. "Zbiggy" (6:55) a tribute to the recently-deceased Polish-born jazz violinist Zbigniew Seifert. Perishing of cancer at the age of 32, "Zbiggy" had been an early pioneer of electrified violin sounds and an active member of the "free jazz" movement though he contributed significantly to the J-R Fusion albums of Volker Kriegel, Jan "Ptaszyn" Wróbleweski, Jasper van 't Hof, Joachim Kühn, Hans Koller, Charlie Mariano, and Glenn Moore's Oregon. Didier's song here allows his collaborators (Tony Williams, John Etheridge, Gordon Beck, and Niels-Henning Orsted-Pedersen) to also pay tribute to their lost compatriot. Kind of a two-chord high-speed, dynamic vamp that allows for lots of soloing. (13.375/15)

Total Time: 41:19

It's all great acoustic jazz--maybe "rock" can be tagged onto the descriptive referents, but it's really just jazz. To me, this album is more of a retrospective tribute to Jazz history than a step forward in the evolution of Jazz-Rock Fusion. At the same time, after repeated listens I've come to appreciate the absolute genius of the performances of these jazz stalwarts. Beautiful!  

91.99 on the Fishscales = A/five stars; while not what I would consider an expression or full-fledged Jazz-Rock Fusion, this is without a doubt a wonderful expression of music, musicianship, and jazz of the absolute highest quality and must, therefore, be extolled as a masterpiece of music--general Götterdämmerung-ed music--no matter what genre or category you choose to assign it to. 

JAMES VINCENT Space Traveller (1976)

One of the most talented UNKNOWN artists I've ever stumbled upon. How this guy never "made it" is beyond my comprehension. The material for this amazing record was recorded At Capitol Studios and released by Caribou Records sometime in 1976.

Line-up / Musicians:

- James Vincent / guitars, vocalist, composer, bandleader 

- Verdine White / bass

- Ronald Stockert / keyboards

- Patrick M. Murphy / congas, percussion

- Harvey Mason / drums (A1, A6, B2 to B5)

- Clyde Stubblefield / drums (A2, B1)

- Carla May / tambourine (A2, A3)

- Leon Chancleer / percussion (A2)

- Freddy White / drums (A3, A5)

- Steve Douglas / saxophone (B4)

- Jay Migliori / saxophone (B5)

- Mayuto / percussion (B5)

Strings, Horn Arrangements: Jack Nitzsche
Horns – Larry Klimas, Ralf Rickert
Backing Vocals – Clydie King, Shirley Mathews, Vinetta Fields, Ronald Stockert, Carla May, Peter Cetera

A1. "The Garden" (0:53) a true orchestral intro that bleeds right into . . .
A2. "Mankind" (4:20) opens with the energy of a funky 1970s Motown hit song as James' guitar fronts and leads everything but the vocal, there is a great thickness to this while the engineer has everybody's tracks lined up without anyone stepping on the toes of others. There's some Isley Brothers, some Earth, Wind & Fire, even some Jacksons feel to this. Too bad it's not more lyrically or melodically engaging.(8.75/10)

 
A3. "Drifting Into Love" (4:45) amazing song with awesome vocals from Verdine White, amazing keyboard work (clavinet and more) from Ronald Stockert, and such solid rhythm work from the rest of the band. (9.25/10)

A4. "Alone" (2:39) solo classical guitar. Quite proficient and professional (and original). (9.667/10)

A5. "Space Traveller" (3:21) opening with some full-finger picks of a couple classical guitar chords before the band kicks in with a beautiful strings-supported space funk romance ballad. Syrupy but eminently enjoyable. (9.125/10)

A6. "Firefly" (5:39) a bit corny but the funk is great! Like a white rock guitarist's Earth, Wind & Fire. (9/10)

B1. "Song For Jayme" (5:34) keyboard bass with drums and rhythm guitars opens this before it slides into a gentle strings-supported Smooth Jazz instrumental piece supporting a George Benson/Earl Klugh-like guitar lead. One mustn't forget how skilled/talented this guy is as a guitarist, but also as a composer of these rich songs! Very impressive guitar playing. (9.125/10)

B2. "How I'm Gonna Miss You" (5:15) back to the lush strings-supported mid-1970s Motown sound as James' deeply soulful vocals could be mistaken for bassist Verdine White's Earth, Wind & Fire vocals--only James might be better! Great support from the background vocalists, as well. Very powerful! (9.25/10)

B3. "Stepping Up" (1:13) the intro for the next song. Powerful! (4.5/5)

B4. "Walking On Higher Ground" (4:01) I love the combination of clavinet, fuzz guitar, and piano moving forward the middle ground of this song while bass and drums provide minimum dynamics as James' Temptations-like vocal and dynamic guitar play occupy the top end almost exclusively. Great background vocal support as well. (9.25/10)

B5. "Moonday" (6:57) a fusion of African rhythms, Jazz-Rock guitar, Yacht Rock keyboards, and Steely Dan-like total sound palette that comes out as a great Latin percussion vehicle for Fusion. I love the inclusion of berimbau and other African hand drum instruments as well as James' courageous and unique blending of traditions and sounds. (13.875/15)

Total time: 44:38

For an artist I'd never even heard of before this year I have to say that I feel rather sad that history has never recognized this incredibly talented guitarist and songwriter: he really deserves his props. Though I don't really consider this prime Jazz-Rock Fusion (it's more akin to jazzy Soul/R&B), it is definitely amazingly-well conceived, crafted, and performed music.

91.79 on the Fishscales = A-/five stars; a minor masterpiece of eclectic rock- and jazz-infused Soul/R&B from an underappreciated (unknown!) talent that the world should know. HIGHLY RECOMMENDED!

OSIBISA Woyaya (1971)

A second studio album put together in 1971 in London under the supervision of producer Tony Visconti (and also receiving the artistic talents of Roger Dean for the album art).

Line-up / Musicians:
- Wendel Richardson / lead guitar, vocals
- Robert Bailey / organ, piano, timbales
- Teddy Osei / flute, tenor sax, African drums
- Mac Tontoh / trumpet, flugelhorn, cabasa, cowhorn
- Loughty Amao / tenor & baritone saxes, flute, congas, talking drum
- Roy Bedeau "Spartacus R" / bass, percussion, idiophone
- Sol Amarfio / drums, talking drum, bongos, cowbell

1. "Beautiful Seven" (6:45) some soulful High Life music that has the advantage of Western rock production values to bring about better definition to and performances from each of the individual instruments. (Tony is figuring out how to mic and engineer this band!) The melodies, engineering, and mixes here are so much more superior to anything on the band's previous album (which was released within the same calendar year). The SANTANA-like jam that emerges in the final minute is what I've been looking more for. Still, the overall quality of the sound and performances is so much better than Osibisa. (13.75/15)

2. "Y Sharp" (6:21) Memphis Blues-Rock sounding like it's coming straight out of the Stax recording studios--as if Isaac Hayes and David Porter were composing their music! Very enjoyable, nicely-polished mostly-instrumental music of a generic type that the musicians are embellishing with satisfactory spirit and inspiration. (9.125/10)

  
3. "Spirits Up Above" (7:18) a song that opens up sounding like PROCOL HARUM or THE SPENCER DAVIS GROUP setting up a ballad. But then the unusual tandem of trumpet and flute present the dirge-like melody lines over wah-wah-ed electric guitar and baritone sax. Wow! This is then trumped by the entrance and vocal presence of a church-like "Baptist" choir singing what could be a eulogy for a minute or so. Then the band suddenly kicks into Blues-Rock third gear with a two-chord vamp over which Robert Bailey's electric piano solos over Roy Bedeau and Sol Amarfino's excellent bass and drumming, respectively. Wendel Richardson's guitar solo is next and it's really cool with chord sliding and multi-note picking, all the while the horn section is supporting with its smooth long notes--until the seventh minute when the individual horns start to meander off onto their paths. What an awesome jam! This is by far the best thing I've heard from this band so far! (14.75/15)

4. "Survival" (6:19) opening with some in-studio banter before Wendel (at least, I'm assuming it's Wendell) leading the band into a West African drum-and-chant opening (lasting 90 seconds!). I love this! And then at 1:45 the full band joins in, transitioning the music into some Memphis-ized High Life music--one that has some serious funk groovin' coming from Roy and Wendell as well as Robert's full organ chords and the tight horn section's accents and dominating lead melody blasts. In the middle of the fifth minute as Loughty Amao breaks free to solo with his tenor sax the rest of the band breaks into What's Going On-like party mingling noise in the background. Another awesome song! (9.5/10)  

5. "Move On" (4:34) opening with the "Oh-See-Bee-Sah" chant, the bass and percussion soon jump in with Wendel strumming acoustic guitar in a Django fashion to create a Caribbean-sounding High Life motif over which Wendel sings in a forceful Eric Burdon or Terry Kath-like singing voice and style, which changes the feel of the music into something more akin to War-like Jazz-Rock. Interesting. I like the sound palette, stylistic variety, but overall something's not quite working (besides the slightly murky overall mix). Maybe it's a bit over-filled: too busy; the Rock elements feel a little under-prepared and forced. (8.75/10)

6. "Rabiatu" (5:07) a nice African-familiar High Life motif is taken into bluesier territory by all of the electrified instruments: Hammond organ, electric guitar, and watered-down bass line. The percussion line interlude in the third minute is cool--especially with Wendel's percussive rhythm guitar muted strumming and the deep, distant bass lines coming from both Ray's bass and Robert's Hammond. The horn work is very effective--very adeptly arranged. (8.875/10)

7. "Woyaya" (4:27) PROCOL HARUM-like Hammond organ chords open this one before Wendel (barely) joins in to start the vocal choir up with his single-voiced recitation of the main lyric and melody, which is thereafter picked up by the whole band as a choir. They sound a bit like they're ending their night in an Irish pub with a drunken sing-a-long of some national (or local) anthem. Once they reach the fourth minute, as the choir join in singing the song title work over and over, things feel quite tight, but then they break into a percussion-only jam to finish it off for the final 45 seconds. Too bad! That "Woyaya" chant could've gone on a bit longer. A cool song--that could very easily be made into a whole-crowd anthem--that feels, to my mind, to be too loosely thrown together and condensed almost unnaturally when it could've been a nice eight or nine minute song. (8.875/10)

Total Time: 40:44

What a great leap forward for this band! Tony Visconti has figured the band out (proving his genius) and gotten superior sound, spirited performances of inspired compositions from this talented ensemble. 

91.72 on the Fishscales = A-/five stars; a minor masterpiece of mostly very-well-produced, very well composed African Jazz Rock. Very highly recommended. 

OPUS-5 Contre-courant (1976)

Part symphonic rock, part jazz-rock fusion (especially in the piano), part folk (especially in the harmonium-like vocal harmonies), this band from Québec sounds like a cross between Maneige, Harmonium, and Sloche (which just happen to be all Québec bands).

1. "Les temps des Pissenlits" (9:10) Central to the success of this great song is the HARMONIUM-like earworm choral vocal repeated over the course of the second two-thirds. (18.5/20)

2. "Il Çtait magicien" (11:40) opens like a CAMEL-RICK WAKEMAN piece. Other sounds and motifs that are familiar remind me of RENAISSANCE, TRAFFIC, ELP, and even ELTON JOHN. Not always cohesive or easily flowing, there is so much great music and musicianship on display here that I can't help but rate it highly. Strange that it goes so quite/delicate with two minutes to go. Quite anti-climactic. (18/20)

3. "Les saigneurs" (9:21) opens with anachronistic sounding steel-string guitar work--Anthony Phillips "Private Parts and Pieces"-like. At the end of the second minute tom-toms usher in a choral vocal section that sounds very much like a FOCUS-like play on classical traditions. Even the piano play and stop-and-go forms used feel FOCUS and/or GENTLE GIANT like. In the fourth minute, the musicians stop for a totally a cappella section before heading back into a jazzy flute and piano led "Moondance" like motif. Quite complex and virtuosic. The sixth and seventh minutes find the music alternating between precise jazz motifs and "Ancient"-sounding vocal responses. Then we move into a more pop music sounding section with gentle melodies and a simple instrumental chordal weave. (18.75/20)

4. "Le Bal" (5:42) sounds quite a bit like early Genesis--even the quirky story form structure of the song. Very nice keyboards and vocals. Quite and interesting and engaging song. (9/10)

5. "Contre-courant" (3:55) nature/harbor sounds mixed with odd synth sound lead into brief choral bank before the piano-based rock motif takes off in a GENTLE GIANT/FOCUS direction--lots of quirk playing off of very serious sounding classical riffs and motifs. Fascinating! Especially if this is, as it feels, intended to be a kind of tongue-in-cheek classical-rock fusion. (9/10)

Despite the obvious skill and virtuosity of all of the musicians involved, central to the band's achievements are the keyboard play of Olivier Du Plessis: he is a marvel to listen to. I am also quite impressed by the bass and flute playing and the vocals.

91.56 on the Fishscales = A-/five stars; an excellent contribution of FOCUS/CAMEL-like progressive rock music. In fact, this music--and the temperament conveyed through it--is quite on the same par as all of the afore-mentioned bands. I call this a masterpiece! (It's just not true Jazz-Rock Fusion.)

KORNI GRUPA (KORNELYANS) Not an Ordinary Life (1974) 

Sophisticated prog rock from the Serbian portion of the former Yugoslavia. I can see why this band is considered one of, if note the, greatest rock/prog bands ever to come out of that nation state.

Line-up / Musicians:
- Zlatko Pejakovic / lead vocals
- Josip Bocek / electric & acoustic guitars, backing vocals
- Kornelije Kovac / keyboards, backing vocals
- Bojan Hreljac / bass
- Vladimir Furduj / drums

1. "Rising" (2:14) quite lovely, well produced, keyboard-led instrumental proggy Jazz-Rock. (4.625/5)

2. "Not an Ordinary Life" (10:16) sounding very much like a cross between early QUEEN, RARE EARTH, and early URIAH HEEP. I'm quite surprised to hear the excellent command of English spoken/sung throughout this song. Great change to an adventurous, theatric RARE EARTH-like motif around the three-minute mark. Some truly excellent drumming, guitar, and keyboard play during the extended solo patch in the middle. In the seventh minute the music switches into a very prog-rock focus with its CHRIS SQUIRE "Close to the Edge" bass line and dynamic (if also circus-like) keyboard play. A rather surprisingly mature and sophisticated composition pulled off with excellent musicianship and excellent sound quality! At 8:45 the music then moves into a grooving Jazz-Rock motif over which guitarist Josip Bocek shreds (in two tracks!) while lead singer Zlatko Pejakovic takes us out with his theatric vocal performance. (19.125/20)

3. "Generation 1942" (6:32) here exhibiting a style more similar to bands like CHICAGO and STYX (and Starcastle and, yes, Yes), the music is so pleasant, well-composed, and creatively rendered I find in total shock. I don't particularly like this style of music (it's now rather dated) but I definitely appreciate the skill and creative genius that went into its creation and production. (9/10)

4. "Fall of the Land of Women" (5:30) employing a distortion-making effect to Zlatko's voice gives this heavy prog song an Arthur Brown-like quality--but it's also in the forcefulness of his vocal delivery. The hard-driving MUSEO ROSENBACH/LE ORME-like music is quite complex with high-quality rock solos from multiple keys and electric guitar as well as solid tracks contributed by bass, drums, percussion, and acoustic guitars. Bassist Bojan Hreljac and keyboard wiz Kornelije Kovac are particularly awesome. (8.875/10)

5. "Temporary Parting" (3:58) solo piano and organ play from Kornelije opens this one before the arrival of a Jon Camp-like bass and syncopated drumming from Vladimir Furduj expose what is obviously a RENAISSANCE-like effort. Even the motif change at 3:00 is in full compliance with the Renaissance approach to making prog out of classically-inspired pieces. (9/10)

6. "Man with a White Flag" (11:43) another heavy rock motif opens this (sounding like a heavier GRAND FUNK RAILROAD or maybe URIAH HEEP) while Zlatko and his background singers sing in quite the GRAND FUNK style. There's a little Gentle Giant and Thin Lizzy in the instrumental passage between the first vocal section and the second. The vocal excellence really rises to the top in the second vocal section, even successfully transforming to monastery-like male choir in the fifth minute. Nice doubled-up synth solo in the sixth minute. The stylistic switch at the end of the seventh minute into a more high-powered-blues-rock motif--for Kornelije's piano solo--is awesome. Then the softer synth and organ-founded motif over which Zltako's voice sings so tenderly is equally impressive. Pulsing bass at the austere nine-minute mark gradually form into another dramatic motif: where Zlatko's URIAH HEEP-like treated voice performs as if from a cage. This culminates in a rising pitch bridge to a more cruising rock motif over which Kornelije returns to his bluesy piano soloing--during which the music is slowly faded out over the course of about 25 seconds. Though, again, this is not particularly my favorite kind of musical style--even in the prog rock form it is in--I cannot help but admire and appreciate the skill and maturity it took to put this together and perform it so flawlessly. (18/20)

Total Time 40:13

Considering that this band's 1972 debut album was only the fourth full-length studio album released in Yugoslavia of a rock band, the production here (in 1974) is incredible. The band had had six or seven years to work together before the recording of this album and it shows in both the skill level of the musicians but also in the sophistication of the compositions. The fact of the band's desire to make its mark in both the radio-friendly pop culture and the more instrumentally-lauded world of progressive rock music is also markedly present here.

91.50 on the Fishscales = A-/five stars; though I would never call this music "Jazz-Rock Fusion" I am over-the-moon impressed with every aspect of it. Quite entertaining (theatric) and excellent progressive rock music. Highly recommended for any and all progheads--especially if you like the spirit and styles of prog's "Classic Era" best.

JONI MITCHELL Court and Spark (1974)

Joni spent a large amount of time of 1973 in the recording studio as she had taken it upon herself to both produce as much of the material herself and work hard to achieve her goal of merging her folk music background with her growing love and understanding of Jazz music into her own personal sound. Part of her success began to happen when she began collaborating with Jazz-Rock Fusion musicians, thus a large number of her usual collaborators--who were also friends--were weeded out in lieu of paid musicians. Fusion veteran Tom Scott and his steady band of L.A. session musicians, The L.A. Express, were the group she eventually depended on the most. The finished result was released on January 17 (or 14), 1974.

A1. "Court And Spark" (2:46) an awesome and telling opener. (9.333/10)

A2. "Help Me" (3:22) one of my absolute all-time favorite songs. Sheer perfection! (11/10)

A3. "Free Man In Paris" (3:02) another near-perfect (and so insightfully sarcastic song) (9.75/10)

A4. "People's Parties" (2:20) great familiarity. (9/10)

A5. "The Same Situation" (3:05) (8.875/10)

B1. "Car On A Hill" (2:58) (8.875/10)

B2. "Down To You" (5:36) Joni with her piano. So intimate! (8.875/10)

B3. "Just Like This Train" (4:23) "sour grapes" (9.125/10)

B4. "Raised On Robbery" (3:05) old-time rock 'n' roll (8.75/10)

B5. "Trouble Child" (3:57) plodding and methodical, concealing Joni's sharp-tongued criticism, acoustic guitar-led band with muted trumpet coming in after the first chorus. Nice work from the ensemble with a really cool and creative bridge to some nice jazziness at the 2:00 mark. Kudos to John Guerin, Jim Hughart, Dennis Budimir, and Joe Sample. (8.875/10)

B6. "Twisted" (2:18) jazzy spy jive. No wonder: it's a cover of an old jazz classic from Annie Ross and Wardell Gray. Interesting genius. (4.5/5)

Total time: 36:02

I resisted giving Joni Mitchell much of a chance in my youth because she was all about words and I have so much trouble hearing words and even more trouble ciphering out the often-layered meanings in words, phrases, sentences--especially lyrics and poetry. [Author's note: The irony in this is that I consider myself somewhat of a wordsmith: have been a prolific letter writer since age 16, which turned into being a writer of over 15 novels (13 published), with the discovery therein that the underlying cause and effect of my writing was therapeutic (each character of each novel is the exorcizing of a part or avenue of choice in my own life that is thereafter purged forever, thereby allowing me the freedom of moving on, moving forward with my own life.] There may also have been a little resistance to Joni's music due to her female brain circuitry. But now, 50 years later, I fully recognize how important Joni Mitchell and her music have been to the music world (even to Jazz-Rock Fusion)--and that Court and Spark is one of those displays of her extraordinary craft and skill that will stand forever--should stand forever--as a beacon of artistic and human achievement. Thank god for recorded music and thank god for Joni Mitchell.

91.39 on the Fishscales = A-/five stars; a masterpiece of pop-oriented Pop Folk Jazz-Rock music. Knowing Joni's love for and future path into Jazz music, I feel almost compelled to somehow include this album in the Compendium.

JAMES MASON Rhythm of Life (1977)

You know what I like: an album of all original compositions--all but one written by the songwriting duo of bandleader James Mason and backing vocalist Mbewe Ninoska Escobar.  released by Chiaroscuro Records 

Line-up / Musicians:

- James Mason / guitar, piano, keyboards [Fender Rhodes, Arp Odyssey, Poly-moog, Arp String Ensemble], vocals (B3)
- Gene Torres / bass
- Mustafa Ahmed / congas 
- Narada Michael Walden / drums (A1 to B1, B3, B5)

- Justo Almario / saxophones

- Clarice Taylor / vocals

- Mbewe Ninoska Escobar / backing vocals

With:

- Philip Woo / piano (A4, B3)
- Dwayne Perdue / drums (B2, B4)

A1. "Sweet Power Your Embrace" (5:25) awesome funk jam with Narada Michael Walden's smooth and cymbal-washed drum play, great bass from Gene Torres, and awesome keyboard and guitar work from bandleader James Mason. Later in the song singer Clarice Taylor enters to sing the song's title over and over with a few additional lyrics until about 4:30 when she is faded out in lieu of dueling tenor sax and electric guitar. Excellent, groovin' tune! (9.25/10)

 
A2. "Good Thing" (3:13) a laid-back funky opening that makes me think of BARRY WHITE until Clarice enters singing quite the impressive version of Mbewe's lyrics. Her voice is so delicate, so nuanced, so skilled and delightfully expressive. It feels to me like Mariah Carey with a soul behind her talent. It gets a little repetitive, even drawn out, this despite the joinder of background vocal choir in the final third of the song. (9.125/10)

A3. "Free" (3:42) a two-chord vamp that is disco-drummed and slap bassed as Clarice (and, later, Mbewe) display their vocal skills within the mix. Perhaps the vocal tracks should've been delivered in front of the Disco rhythm track. This woman (Clarice) is so talented! (8.875/10)

A4. "Mbewe" (2:29) the only solo composition on the album, this one written by James, assumedly for his songwriting collaborator. It's nice, mature and rendered with the patience and confidence that only maturity provides. The piano of Philip Woo is a great add while the sax lines of Justo Almario are also an impressive decision. There is class and familiarity to this instrumental homage. (4.5/5)

A5. "Funny Girl" (4:20) solid funk with great vocal from Clarice Taylor. What a voice! Great chords and melody lines. I'm definitely groovin' on this love! (9.25/10)

B1. "Slick City" (3:02) a fun, upbeat, SWING OUT SISTER-like catchy Jazz-Pop song with hand claps, awesome bass line, and some excellent vocal work from Clarice and Mbewe. (9.25/10)

B2. "Rhythm Of Life" (6:12) an excellent Funk-Jazz Jazz-Rock Fusion song over which Clarice sings with that force and conviction that Black women have made a signature of. Great bass play, rhythm guitar work as well as keys and lead guitar (that Larry Carlton-like solo in the final quarter is really awesome!). Nice tune! Great singer! A top three, to be sure. (9.25/10)

B3. "Hey Hey Hey" (1:57) opening with some amazing bass guitar work backed by keys and drums as choral vocals join in, Clarice and Mbewe singing the song's lyric in total unison before James joins in to add his two cents for a couple lines in the middle. Guest pianist Philip Woo makes himself known at the very end. Great groove! Could've/should've easily been lengthened. As it is, it's faded out as Philip is just getting into his solo. (4.625/5)

B4. "I've Got My Eyes On You" (3:35) a catchy lyric and melody sung by Clarice over a dynamic, fairly-high-tempoed funk-rock music. I'm reminded of RUFUS With CHAKA KHAN throughout this one. As with Rufus songs, there are some flaws with this composition that, while not glaring, weigh down the song's overall feel and effect. (9/10)

 
B5. "Dreams" (3:26) an excellent laid-back two-chord Narada Michael Walden-like Jazz-Pop vamp over which Clarice sings in a voice that sounds like a cross between Dionne Warwick and Corinne Drewery (SWING OUT SISTER). There's even an awesome and unusual little guitar solo in the third minute. Something is a little off in the engineering of Clarice's voice though (too much distortion: as if it was mixed into the final mix at much too high of a level.) (9.125/10)

Total time: 37:21

Why have we not heard more of these artists--especially singer Clarice Taylor (later, married to "Bell") and the songwriting team of James Mason and Mbewe Ninoska Escobar? And how does an album of this high quality song crafting get overlooked--both at the time and by history?! Also, slowly I am finally becoming convinced of Narada Michael Walden's virtuosity on drums.

91.389 on the Fishscales = A-/five stars; a minor masterpiece of funky Jazz-Pop, Funk-Jazz, with definite and solid ties to the Jazz Fusion genre.

RIFF RAFF Riff Raff (1973)

A year after forming and recording the Strabismus material in 1972 as well as the initial Riff Raff material (which would not see the light of day until 1999), Roger Sutton is trying again: this time with veterans Peter Kirtley, Tommy Eyre, Brasilian percussionist Aureo De Souza, and Bud Beadle, one of Ian Carr's partners in crime, on saxophones. The album was released in June of 9173 by RCA Victor Records.

Line-up / Musicians:
- Peter Kirtley / guitar, vocals
- Tommy Eyre / organ, Fender Rhodes, 6- & 12-string guitars, concert & bass flutes, vocals
- Roger Sutton / fretless bass, double bass, 6- & 12-string guitars, vocals
- Aureo De Souza / drums, percussion
With:
- Bud Beadle (Nucleus) / saxophones

1. "Your World" (7:39) a gorgeous little 12-string guitar based song with some great vocals from guitarist Peter Kirtley turns to blues-proggy Rock 'n' Roll in the third minute, getting heavier until fully-breaking out into some awesome prog rock in the fourth minute followed by a wonderful slightly-funky Fender Rhodes based Blues-Rock instrumental passage in the fifth over which Peter then turns his significant talent to his electric guitar, delivering an awesome lightly wah-wah-ed solo for almost two minutes. Then the music thins and acoustic guitar and Rhodes rebuild while the lead vocalist ramps things up to reveal a more raspy voice in his impassioned state. But the band softens back up for the final minute, even sporting some gorgeous AMERICA-like harmony vocals to close it out. Wow! I am humbled--and impressed!  (14.5/15)

2. "For Every Dog" (3:46) a very different version than the one the band had recorded for their original debut record (which never saw the light of day until 1999): this one is much thinner, more stark and open as opposed to the brilliantly layered weaves (both instrumental and vocal) of the original. It's still good but there is no doubt that I prefer the Allan Marshall-fronted version. (8.75/10)

3. "Little Miss Drag" (3:12) sounds and plays out like a "new" Beatles tune. Even the sound production is rather like the preferences that John Lennon used in his solo career--even the snarkiness of lyrics have Lennon written all over them! (The songwriting credit cites Sutton and non-members Tony Thorpe and John Richardson as the composers--possibly/probably friends of Roger's.) (8.875/10)

4. "Dreaming" (4:32) a two part song that starts out rather innocuously with gentle Fender Rhodes, bass, organ, and cymbal play for the first half minute before Peter's twangy lead electric guitar supplies a Countrified melody before the band cuts back to nothing. Then they slowly build back up while a gentle male vocal sings with an almost insecure vulnerability. Then, at the two-minute mark strummed guitars, jazz piano, hand percussion, and bass launch into a delightfully smooth-yet-spirited two-chord vamp over which Bud's saxophone and Peter's electric guitar play a "solo" melody line as a twin-duo. Really engaging, pretty and fun. (9.25/10)

5. "Times Lost" (4:15) another gentle multiple picked acoustic guitar weave with one very gentle, sensitive, almost breathy male voice singing to mimick the Right channel's guitar's treble melody line. I like Roger's fretless bass work here. Nice song though I would never call this Jazz, Rock or even Folk; it's more like acoustic Folk Rock. (9.125/10)

6. "You Must Be Joking" (7:29) Jazzy Blues Rock?! Using some DOORS sounds and tricks, the music gradually ramps up into a kind of Jazz-Rock as guitar, keys, and saxophone tracks weave together some pretty intricate riffs and legato lines. Peter Kirtley's lyrics and voice again have an interesting John Lennon-like snark and cleverness while, as said, the Fender Rhodes-based four chord music seems to borrow from The Doors as well as early Who and even Van Morrison. Peter's lead guitar solo in the fourth minute (over some excellent drumming from Aureo) is pretty awesome: definitely deserving of repeated listens and study. (Why did this dude never really make it to the top?) Then comes a stripped down passage within which Tommy Eyre lays down some nice keyboard work with his dirty Rhodes before closing things down by tapering off into . . . silence. (13.75/15)

7. "La Même Chose" (12:12) dreamy Rhodes play with bass, cymbals, and saxophone floating around, trying to figure out their places within the Cosmos. In the third minute Tommy's Rhodes assembles a little momentum, slowly joined by Roger's bass, Aureo's drums, and Peter's rhythm guitar--which eventually become high-tension power chords over which he and the boys sing with some confidence and fire. A slow down in the fifth minute leads into an Allman Brothers-like section, which then ramps back up into the more intense power Folk Rock motif for single- and multiple voice singing. Then, in the seventh minute, things slow back down and thin out with active bass and steady cymbal and rhythm guitar play supporting Tommy's heavily treated Rhodes solo. It's a long solo with every one amping up the further we get into it, but Tommy remaining in the spotlight, taking every second for all he's worth. Bob joins in toward the end to take the volume over the top, causing Tommy to relinquish his lead (and momentum) which then allows Bob a turn in the lead, following the same slow build as they did with Tommy, until guitar power chords take back over as the lead singer returns to declare the song's meaningful intentions before everybody goes into slow decay for the finish. Nice tune! I really love the way the band orchestrates the tension levels throughout--easily and effectively transferring it to we, the listener. (22.5/25)

Total Time: 43:05

I think it's the prominent acoustic guitars and pleasant, easy-going voices of Roger, Peter, and Tommy that surprise me the most

91.32 on the Fishscales = A-/five stars; another minor masterpiece of little-mentioned, perhaps forgotten, song-crafting by some truly excellent and creative songwriters and musicians. Definitely the product of professionals who know what they're doing (and seem to have a strongly defined vision for their music). This may not be as proggy as the Top Tier (mostly symphonic) bands, but it is very high quality music.

BLOOD, SWEAT AND TEARS Blood, Sweat and Tears (1968)

Exit founder and leader Al Kooper (turning toward the production and A&R side of Columbia Records), here today is power vocalist David Clayton-Thomas. Other members remaining from the debut album include the excellent rhythm corps of bassist Jim Fielder, drummer Bobby Colomby, and guitarist Steve Katz as well as sax player Fred Lipsius and trombonist Dick Halligan (who now has added piano, flute, and organ to his  The album was recorded in New York City at Columbia's 30th Street Studios ("The Church") during the span of October 7-22, 1968 and then released at the end of the year from where it dominated the charts, holding the #1 spot for six weeks in 1969, spawning three hit singles to each reach #2: "You've Made Me So Very Happy," "Spinning Wheel," and "And When I Die" before winning the 1970 Grammy Award for Album of the Year.

Line-up / Musicians:
- David Clayton-Thomas / vocals (excl. 3)
- Steve Katz / guitar, harmonica (solo 5), lead (3) & backing vocals
- Dick Halligan / organ, piano (solo 5), flute (3), trombone, chorus vocals, arrangements
- Fred Lipsius / alto sax, piano (solo 2), arrangements
- Lew Soloff / trumpet, fluegelhorn
- Chuck Winfield / trumpet, fluegelhorn
- Jerry Hyman / trombone, recorder
- Jim Fielder / bass
- Bobby Colomby / drums, percussion, chorus vocals
With:
- Alan Rubin / trumpet (7)
- Al Kooper / arrangements (2, 4, 8)

1. "Variations On A Theme By Erik Satie (1st and 2nd Movements)" * (2:30) performed rather faithfully by Steve Katz providing the chords normally left to the piano's left hand on his classical guitar with flutes, and/or recorders tracking the main melody up top--until, that is, until the tinkling of a percussionists winde chimes signals a bridge to a fully meted out Brass Rock version (the "2nd Movement") varying the notes and chords with highly-treated (flanged) drums, bass, and loud horn section. Interesting! (9.125/10)

2. "Smiling Phases" (5:10) a song that really puts on full display the band's power and enthusiastic energy while also introducing their powerful new vocalist, David Clayton-Thomas. After 90 seconds, the band launches into an impressive jazzy instrumental section in which bass player Jim Fielder, drummer Bobby Colomby show their skills as the horns and Fred Lipsius' piano show off their skills over what turns out to be a two-part movement: the first fast, the second slow and protracted, before returning to the opening motif for David and the band to finish with the same energy as they opened with to bookend the song. Nice! (9/10)

3. "Sometimes In Winter "(3:08) smooth, beautiful, fully-orchestrated music with the smooth vocal of Steve Katz, the band finds themselves creating more of that Jimmy Webb folkie, anachronistic Baroque Pop that is so pleasing to the ear. I like this song very much. Steve Katz could definitely have had a career as a singer: he sounds like a cross between a certain member of The Association and Bobby Darren. (9.25/10)

4. "More and More" (3:04) picking up where "Smiling Phases" left off (though David's voice is mixed a little more deeply into the soundscape than before). More creative uses for the horn section to inject their accents into the mix (substituting for the B.B. King-like blues guitar riffs). Jim and Bobby bring it with such amazing energy and skill! The futuristic (Frippian) guitar tone used by Steve Katz in the solo toward the end of the second minute, during the organ-based instrumental mid-section, is quite cool (and loud)! Incredibly tight and powerful musicianship on this complex tune. (9.125/10)

5. "And When I Die" (4:05) the hit cover of Laura Nyro's song, the song is notable for its dynamic shift between its sparse, dirge-like harmonica opening, the ensuing easy-going circus-music-like verses and the way the music turns to vaudeville-Western-showtune-like as they go on. And then there are the dramatically-held suspension of the song's title in the chorus and unusual pauses. Very much like something one would see on a Broadway musical. The faithful rendering of a rather complicated composition is the most impressive part for me (on a song that I've never really been very high on). (9/10)

6. "God Bless The Child" (5:56) another song that feels stage-worthy (which makes sense since it was composed by Arthur Herzog, Jr. and Billie Holiday). In a very interesting (and totally unexpected) twist, at 3:06 the song turns into a Afro-Cubano-flavored piano- and percussion-based jam for the horn players to really stretch out: both collectively and each, individually. But then at 4:24 the song comes back to its origins (though with noticeably more forceful horns, more organ, and the joinder of a bluesy harmonica, which weren't so prevalent in the opening). Ballsy but these guys are definitely up to the challenge. (9.125/10)

7. "Spinning Wheel" (4:07) one of those memorable brainworm songs, this one composed by newcomer David Clayton-Thomas. The horns were always my favorite part though David is solid (and even able to show some sensitivity). Definitely the most interchangeable song with the other Brass Rock pioneer, CHICAGO (Transit Authority). The instrumental section in the middle (which is sometimes cut out for radio play) is pretty cool--as is the finale with it's horn blasts, great drumming, and calliope-like recorder play. (9/10)

8. "You've Made Me So Very Happy" (4:19) the album's first single release, it was borrowed from the Motown catalogue having been covered by one of its authors, Brenda Holloway in a mildly-successful 1967 release as a 45 rpm single (the final arrangement of which Ms. Holloway fought hard to control, a battle she ultimately lost--which led to her leaving Motown/Tamla). BS&T's version was a massive chart topper that remains memorable and emotionally relevant to this day. I am most impressed by David Clayton-Thomas' ability to tone it down and soften his delivery for the tender, sensitive verses. (9.25/10)

9. "Blues-Part II" (11:45) an instrumental epic that opens with organ, bass, drums, all of which are quite simple and rudimentary (which is greatly disappointing considering the absolutely jaw-dropping skills the band's rhythm section has shown in the super-tight, super demanding arrangements of all their vocal songs). By the time the fifth minute rolls around the band has finally settled into something more meaty (though, ironically, it's a two-chord vamp) over which Fred Lipsius performs a long multi-part solo on his alto sax: at first over the fast-tempo vamp but then equally-impactful over the slowed down for the seventh and eighth minutes. How humorous is it that the band (Jim Fielder) chooses the "Sunshine of Your Love"/"In-a-gadda-da-vida" bass line to open and carry the next section. Luckily, he lets go of it at 8:40, whereupon the band transitions into a purely-Blues motif over which David sings in a genuinely-feeling blues tradition as Steve Katz tries to project a Blues guitar tone and style while Bobby bashes away on the drum kit beneath and the horn section slowly ramps up their intensity--until someone in the production booth decided to pull the plug: they slowly fade the song out even while David is launching into a classic Wilson Pickett lyric with increasing power and emotion! (22/25)

10. "Variations On A Theme By Erik Satie (1st Movement)" * (1:37) a replication of the opening movement from the beginning of the album, this time ending before the Brass Rock rendering starts--with the sound of a door slamming shut! (4.75/5)

* Adapted from Satie's "Trois Gymnopédies"

Total time 45:41

91.02 on the Fishscales = A-/five stars; a minor masterpiece of genre-leading Brass Rock. Though I am nowhere near as much a fan of this album as their debut, I recognize the superior craftsmanship that went into the rendering of each and every song and cannot imagine denying it it's deserved masterpiece status.

CHASE Chase (1971)

If the Don Ellis Orchestra produced Blood Sweat and Tears and they composed for Broadway musicals.

Line-up / Musicians:
- Bill Chase / trumpet
- Ted Piercefield / trumpet, lead vocal on "Handbags and Gladrags" and "Boys and Girls Together"
- Alan Ware / trumpet
- Jerry Van Blair / trumpet, lead vocal on "Hello Groceries"
- Phil Porter / keyboards
- Dennis Johnson / bass guitar, vocals
- Angel South / guitar, vocals
- Jay Burrid / percussion
- Terry Richards / lead vocals

1. "Open Up Wide" (3:48) amazing full-throttle brass rock. (8.875/10)

2. "Livin' In Heat" (2:54) a little Broadway musical feel to this one (as well as BS&T). I guess the lead vocals hear must be attributed to Dennis Johnson. (8.875/10)

3. "Hello Groceries" (2:56) R&B brass rock. Jerry Van Blair's lead vocal is pure R&B. (8.75/10)

4. "Handbags and Gladrags" (3:23) slowed down New Orleans funereal music start turns into New York City open air style jazz-rock. Love the wavy, layered horn arrangements in the back ground. Lead vocalist Ted Piercefield sure sounds like David Clayton Thomas. (9/10) 

5. "Get It On" (2:59) (8.666667/10)

6. "Boys and Girls Together" (2:56) Ted Piercefield again in the lead vocals. (8.666667/10)

7. "Invitation to a River" (14:13) so much like the soundtrack and arias from a single act of a Broadway musical. Even so, it would be considered great, moving theater music. (27.75/30)
a) "Two Minds Meet" - Dennis Johnson again on lead vocals?
b) "Stay" - slow and atmospheric with choral background vocals supporting Dennis' plaintive lead. 
c) "Paint It Sad" - there's that David Clayton Thomas sound and feel again.
d) "Reflections" (ad lib) -  Astounding horn play--especially from lead trumpeter Bill Chase.
e) "River" - more akin to the slow and plaintive music and lyrics of the second movement.

Total time - 33:09

The horn play is amazing throughout this album--so crisp and clear, creative and powerful--but the songs aren't always as engaging and are rarely inventive or forward-thinking (except for the horn arrangements) as some of the other J-R Fusion artists of the day. I feel that Bill and company's compositional and stylistic orientations are quite similar to the music Stephen Schwartz was doing for musical theater.

91.02 on the Fishscales = A-/five stars; a minor masterpiece of theatric Brass Rock. 

JANNE SCHAFFER Janne Schaffer (1973)

There are several alternate editions of this album that include a wide number of different songs that were not present on the original Midnight Sun release. Normally, I ignore these later and alternate versions and go for the original only, but, having happened upon a recording that included the awesome songs, "The Chinese," and the use of English titles for "Kulan," "Jordbruksmaskinen," "Fillins Mignon," and "Vindarnas Madrass" ("Marbles," "Harvest Machine," "Fillet Mignon," and "Air Mattress," respectively) as well as a mess of additional songs that turn out to come from his 1974 release, Janne Schaffer's Andra, I balked! As alluded to above, the problem is that I like them all! But, I will try to 

Line-up / Musicians:
- Stefan Brolund / bass
- Ola Brunkert / drums
- Bengt Karlsson / guitar
- Janne Schaffer / guitar
- Björn J:Son Lindh / piano, flute

1. "Halkans Affär (4:20) a song that feels grounded in some of the great blues-rock/rock 'n' roll chords, riffs, and hooks of the 1960s--Allman Brothers, Buffalo Springfield, early Thin Lizzy, even Paul Revere And The Raiders, etc.--but it's Janne and Bengt's guitar play that are the featured meal here. (As twin guitars is the key feature overall--often harmonizing with each other--I guess it would be appropriate to cite this as a link between The Allman Brothers and Thin Lizzy.) (9/10) 

2. "No Registration (6:10)  a Larry Coryell-like exercise turns down a few side streets, e.g. with some amped up Ray Manzarek "Riders in the Storm" electric piano, some funky-chunky electric jazz bass, and some great delicate and power-chord electric guitar play (from both guitarists). It's great listening--greatly entertaining and engaging--but, again, it's barely touching that which I consider to be Jazz-Rock Fusion. Still, I like it! Very much! (9.25/10)

 
3. "Kulan (Marbles)" (4:57) an acoustic start with an Indian feel due to the droning sound coming from Stefan Brolund's bowed double bass, at the end of the first minute the guitar, soft electric piano, and Danny Thompson-like double bass begin rendering something that is more akin to something by THE PENTANGLE or some American artist: there is a sound and feel like an American Western mental-spiritual, mind-wandering balm or desert dream--Janne's solo on the acoustic guitar sounding and feeling like one particular member of AMERICA's guitar sound and style (or perhaps it's how the guitar was miked and recorded). Björn J:Son Lindh's Ray Manzarek electric piano chords and riffs shimmering in the left channel. Beautiful tune! (9.25/10)

4. "Titus" (3:46) electric guitar, bass, drums, tabla (!), and two tracks given to Björn J:Son Lindh's gorgeous flute play make for a very beautiful and interesting folk-tinged Smooth Jazz tune. Janne and company keep hitting it out of the park! (9.25/10)

. 
5. "Jordbruksmaskinen (Harvest Machine)" (8:10) this song defintely opens with 75 seconds of space music that sounds exactly like something the American jazz-fusion artists who were venturing into experimentations with the new synthesizers and their vast array of artificial sounds in the early 1970s (Herbie Hancock and Lenny White, thanks to Dr. Pat Gleeson, as well as Larry Coryell, Lonnie Liston Smith, Joe Zawinul, and Jan Hammer.) But then, at 1:20, the electric guitars and bass interrupt with some jarring power chords that make me think more of some of the early pioneers of "Heavy Metal" music (like Led Zeppelin) and Jeff Beck. But then there is a launch into a jazzy rock guitar Eric Clapton/Jimi Hendrix/Randy California-like passage--which is then quickly interrupted by an odd little "interlude" before coming back with more of an aggressive Larry Coryell funk orientation so that guest Jan Bandel can solo on his vibraphone alongside Björn J:Son Lindh's electric piano while the guitarists play some awesome rhythm funk guitar. In the sixth minute there is another "interlude" slow down into sort-of-spacey music before the band restarts the funk-anchored blues-rock lead wah-wah guitar shredding. The musicianship and sound throughout this is awesome; it's just not my favorite style of rock or fusion. (13.625/15)

6. "Daniel Sover" (0:35) a beautiful little strings trio with Janne, Bengt and Stefan playing all acoustic instruments. (4.5/5)

7. "Did You Ever Love a Woman" (4:42) B.B. King?! It even sounds like B.B singing but that is, no doubt, Janne on electric guitar. Was this like a recording of Janne playing over the top of B.B.'s own recording--like an early Karaoke experience--or maybe Janne's whole band playing over/with B.B.? The horns are all attributed to Swedish musicians--and the vocal is credited to "Blues singer" Slim Notini, so I guess this really is a re-do/cover! But, still I'm confused! (9/10)

8. "Fillins Mignon" (3:17) opens just like a Led Zeppelin, Cream, or Joe Walsh song. The twin guitar play and interplay is awesome--especially in the beautiful second minute when one peals off to lead and the other lays back to provide rhythm support--and then they reverse their roles while switching their style and sound like Dr. Jekyll turning into Mr. Hyde (or Jan Akkerman turning into Joe Walsh). (8.75/10)

9. "Vindarnas Madrass (Air Mattress)" (3:34) a jazzy stop-and-go exercise in jerky syncopation being blended, alternatingly, with gentle folk and aggressive hard rock elements. Such creative vision! I just love the superb manifestations of such fresh and innovative ideas! Flutes, vibraphone, congas, funky bass, and, of course, a wide variety of guitar sounds and styles. Awesome! (9.125/10)

Bonus: "The Chinese" (3:18) (alternative to "Did You Ever Love a Woman") Definitely coming from the rock background and compositional perspective, this song feels like something from one of rock's early melodic geniuses. Great groove with some great riffs to hook the listener in--and the interesting skills flourishes and creative guitar sound production to keep him engaged. (9.25/10)

Total Time 39:31

I guess it's the finesse of the guitarist and the occasional jazziness of Stefan Brolund's electric bass that make people want to categorize this music under the Jazz-Rock Fusion umbrella, but, like a lot of Jeff Beck, this is less Jazz, more rock (and blues-rock), but, yes, there are occasional Larry Coryell-like flashes of brilliance, otherwise it's more like advancing rock 'n' roll--or rock 'n' roll infused with jazzy ideas and techniques.

I do, however, want to give high praise to the amazing sound production, amazing bass creativity of Stefan Brolund, awesome skill and diversity of "second fiddle" guitarist Bengt Karlsson (and Björn J:Son Lindh's flute play!), as well as the solid drumming of Ola Brunkert. Well done, Boys!

91.0 on the Fishscales = A-/five stars; an awesome collection of well-polished and highly-creative songs--a minor masterpiece!--just not sure this belongs in the Jazz-Rock Fusion category. Still, it is a wonderful album that I HIGHLY RECOMMEND for any lover of masterful, creative, eclectic prog-related song crafting and whole-band musicianship--and great sound! 

Interestingly, Janne did contribute to a number of certifiable Jazz-Rock Fusion albums in the 1970s, most notably the brilliant Ablution one-off, two Pop Workshop albums, a couple Gabor Szabo, Rune Gustafsson, Putte Wickman, and Mads Vinding Group albums, as well as, later, a couple of prog rock band Isuldur's Bane's albums near the turn of the century, but he (and several of his band mates on this album) may be most famous for their contributions as the studio and live band to Sweden's international pop sensation, ABBA.

FUSIOON Fusioon (1972)

A band that hailed from Barcelona, this the first of three instrumental cinematic Jazz-Rock Fusion albums they produced in the first half of the 1970s.

Line-up / Musicians:
- Santi Arisa / drums
- Marti Brunet / guitar, synthesizers
- Jordi Camp / bass
- Manel Camp / piano, keyboards

1. "Danza Del Molinero" (4:33) tension-laden Spanish-informed piano-based jazz-rock with interesting lead instruments and orchestral sound and feel. At times there are tinges of both British prog rockers RENAISSANCE and, at the same time, shlocky piano cover band albums like Ronnie Aldrich, Montovani, Percy Faith, and Peter Nero. There is also much to be enjoyed here in the way one can be brought under the spell of the orchestral works of DAVID AXELROD. Jordi Camp's electric bass and Santi Arisa's drumming do, however, firmly anchor this well within the realm of Jazz-Rock music. (9.625/10)

2. "Ya Se Van Los Pastores" (5:16) more David Axelrod-like theatric Wrecking Crew funky theater music. (9.25/10) 

3. "Ses Porqueres" (3:13) a cover of a famous Herb Albert melody rendered unto the realm of Adult Contemporary covers. Nice guitar work from Marti Brunet (on multiple tracks) while Santi, Jordi, and Manel drive the music forward with their sparky rhythm play. A bit schlocky but rated up for fine musicianship and engineering. (9/10)

 
4. "Pavana Espanola" (3:01) opening with Jordi's solo bass establishing a kind of melding of "Take Five," Jethro Tull, and an English liturgical melody. Clever injections of organ, electric and acoustic guitars helps deliver this anachronistic rendering into the 20th Century. Could be PDG Bach or even Chip Davies' MANNHEIM STEAMROLLER. (9.125/10)

5. "Negra Sombra" (3:44) another piece that feels like an Adult Contemporary orchestral delivery of some classic pop or film (or even folk/traditional or liturgical) theme (which was probably originally offered in an orchestral setting). At the halfway point we hear a switch into a completely different motif before the original motif returns with the addition of choral vocals and full orchestra--which now definitely gives it an elevator music kind of cinematic sound and feel. I like the complexities and intricacies in the shifts and arrangements as well as the Carole Kaye-like bass play, but overall it's a little bit too schlocky. (8.875/10)

6. "En El Puerto De Pajares" (4:13) another "borrowed" melody (from folk-traditional or liturgical music traditions) that is rendered pop/Adult Contemporary by the organ and orchestral inputs. Again, I really admire the creative arrangements but feel so much that I'm listening to the manufactured products of former classical and cinematic music conductors' work to try to make themselves still relevant (or "hip") in the "electric age" of the 1970s. Too me, this is not Jazz-Rock Fusion so much as television game show or talk show music. (8.875/10)

7. "Rima Infantil" (3:37) a return to the Spanish and 5/4 "Take Five" feelings of previous songs elevated to elevator relevance by the crisp classically-trained piano play. Thank heavens for the second motif and dominance of the electric bass, electric guitar, and excellent rock drumming--as well as the excellent mood check motif at 2:20. (9.125/10) 

8. "El Cant Del Ocells" (4:15) another truly awesome creation from a sound palette compatible with Easy Listening/Adult Contemporary and or theatric/cinematic interlude music. Again, I can only applaud Manel, Jordi, Santi, and Marti for their commitment to jazzy adaptations of these songs that sound and feel like covers of musics that sound and feel as if they come from other, more popular (than Jazz) genres. Manel's aggressive and dynamic organ play and Jordi's excellent bass play are definitely well supported by Santi's excellent drumming and Marti's creative guitar inputs. (8.875/10)

Total Time: 30:52

In almost every note, chord and phrase produced by this jazz-rock combo I hear humor, I hear soundscapes informed by a kind of French (and/or Italian) cinematic soundtrack traditions that come from classically-trained, Vince Guaraldi-schooled, Peter Schickele-disposed musicians as well as Adult Contemporary artists like Ronnie Aldrich, Montovani, Percy Faith, and Peter Nero (of whom my father was a big fan and collector). It's really fun (and funny) music that comes across like something that PDQ Bach, Frank Zappa, or early The Soft Machine might have produced. I really think pianist Manel Camp molded himself in the Vince Guaraldi School of Piano stylings, the band in the French School of Sarcastic Film Scoring while living and training with Daevid Allen and The Canterbury Commune of Combustible Radio Gnomes. This is an excellent album--one of the better Easy Listening/Adult Contemporary albums of elevator-qualified songs that you are likely to ever hear, but it is definitely not the kind of Jazz-Rock Fusion that I feel drawn to; and yet I cannot deny that this is a fully-viable choice for musical artists to choose and follow in their own development and exploration of the infinite number of fusion capacities available in the late 1960s and early 1970s.  

90.94 on the Fishscales = A-/five stars; though not a significant contribution to the "progression" of either Jazz-Rock Fusion or Progressive Rock musics, this is definitely a minor masterpiece of cinema-friendly and jazz-rock-determined Adult Contemporary music--a sadly-overlooked and disparaged form of music to which very talented, serious, and, probably, more financially-astute artists made significant (and lucrative) contributions.

AZTECA Azteca (1972)

Another San Francisco band out of and in the vein of a funked up Latin-Cubano/SANTANA sound (including the contributions of several of Carlos' key collaborators like the Escovedo family). 

Lineup / Musicians:
- Paul Jackson / acoustic bass, electric bass [Fender]
- Victor Pantoja / congas, vocals 
- Lenny White / drums, vocals 
- George Muribus / electric piano 
- Flip Nuñez / organ 

- George DiQuattro / piano [acoustic], clavinet 
- Mel Martin / soprano saxophone, tenor saxophone, baritone saxophone, flute, piccolo flute 
- Bob Ferreira / tenor saxophone, flute, piccolo flute 
- Coke Escovedo / timbales, producer 
- Tom Harrell / trumpet 
- Jules Rowell / valve trombone 
- Wendy Haas / vocals 
- Errol Knowles / vocals 

- Pete Escovedo / vocals 
- Rico Reyes (SANTANA) / vocals 

With:

- Jim Vincent / guitar (A3, A5, B1)
- Neal Schon / guitar (A3, A5, B1)

A1. "La Piedra Del Sol" (1:13) definitely a polite introduction to the sound palette the rest of the album will hold: horns, percussion, and electric keys, guitars, and bass, here given an orchestral form. (4.5/5)

A2. "Mamita Linda" (3:40) like a professionally-crafted Latin drum-line from Havana or Panama City, this one flows pretty well (Paul Jackson's bass sound is a little incongruous) and then the Cuban-style piccolo, timbales, piano, and group male vocals are awesome! (Now I see where the Miami Sound Machine got their sound.) Excellent music! Who says musica Cubano isn't full-fledged jazz?! (9/10)

A3. "Ain't Got No Special Woman" (5:59) a little Curtis MAYFIELD flair for vocalist Rico Reyes to sing over. More blues-based R&B than J-R fusion. Nice guitar work from Jim Vincent and Neal Schon in the third and fourth minutes which is then followed by a sudden shift into a purely-Latin section to close. (8.875/10)

A4. "Empty Prophet" (5:27) a very soulful male vocal performance is supported as if by a studio orchestra giving this song more of a Lou Rawls or Coleman Hawkins feel. Very well done though definitely not belonging in the domain of Jazz-Rock Fusion. (9/10)

A5. "Can't Take The Funk Out Of Me" (4:22) again I am so reminded of the music of CURTIS MAYFIELD's debut albums despite the Parliament-like funk horns and vocal arrangements. Errol Knowles' raspy soul/R&B vocal is wonderfully supported/accented by the gospel-like background choir. Lenny White is a real standout as is the clavinet play from George DiQuattro, and this is one of the better Paul Jackson performances on the album. Rated down for not being as fusiony as the others. (8.75/10)

"Peace Everybody" (4:30) Paul and Lenny open this one as if in a competitive race. And then the rather crisp and well-arranged horns join in with the percussionists and rest of the band to support a choral vocal of the title words. The anti-war vocals in between the choral chants are quite like those of The Fifth Dimension or a Stephen Schwartz Broadway musical. This reminds me a lot of Billy Cobham's first band, DREAMS--even when the AVERAGE WHITE BAND section that supports Mel Martin's dynamic saxophone solo in fourth minute. (9/10)

"Non Pacem" (6:39) an excellent multiple motif song with choir vocals like Giants with some excellent solos from Tom Harrell on trumpet and Mel Martin on Soprano Saxophone as well as super solid contributions to the rhythm track from multiple percussionists. Latin jazz-rock funk rarely gets better than this! (10/10)

"Ah! Ah!" (3:24) a repetitious blend of Cubano-style horn-and-percussion-based structure with R&B electric instruments and a very Caribbe-sounding vocal arrangement. (8.875/10)

"Love Not Then" (5:00) such a pretty R&B groove--right up there with The Fifth Dimension, Dionne Warwick, Gladys Knight & The Pips, and even Marvin Gaye. Great instrumental performances of an awesome arrangement. I love both the smooth female lead and boy choir background vocals. This could have/should have been a radio hit! (9/10)

"Azteca" (4:45) a scrum of horns, percussion and bass notes opens this before all falling into line for a fairly smooth and melodic, almost Curtis Mayfield R&B-like jam. I love the structure of this with its  shifts into Cubano and more-straightforward jazz motifs. Love the enthusiastic piano play from George DiQuattro as well as the drumming of Lenny White! (9.25/10)

"Theme: La Piedra Del Sol" (1:52) as if the opening song had been veritably cut in two, this feels as if it picks up in the middle of something and then proceeds to usher (and march) us into the night. Nice. Very professional. (4.625/5)

I'm surprised at how often I find myself finding Paul Jackson's bass play (and sound) to be the weak link in the individual songs on this album. The compositions are superlative with all of their Caribbean influences.

90.875 on the Fishscales = A-/five stars; a minor masterpiece of Latin-grounded music of a variety of styles (not all jazz or Jazz-Rock Fusion oriented). Still, highly recommended for the sake of the highly sophisticated conpositions and arrangements. 

BRIAN AUGER, JULIE DRISCOLL & THE TRINITY Street Noise (1969)

The Julie Driscoll/Brian Auger Trinity collaboration comes to an end with this double album: which is a perfect testament to an amazing singer and her wonderful support crew musicians. I think it only just that this "support crew" is given their due: their own Side (Three); time to shine on their own.

Line-up / Musicians:
- Brian "Auge" Auger / organ, piano, electric piano, vocals
- Julie "Jools" Driscoll / vocals, acoustic guitar
- Clive "Toli" Thacker / drums & percussion
- David "Lobs" Ambrose / 4- & 6-string electric bass, acoustic guitar, vocals

LP Side One:
1. "Tropic of Capricorn" (5:32) syncopated cymbal play with matching organ, piano and bass notes leads into the establishment of a kind of ELP/"Take Five" jazzy blues-rock motif, which then smooths out with vocals into what sounds very much like something from THE SOFT MACHINE's second album. The ensuing instrumental section adds some Ray Manzarek-style organ soloing while Clive Thacker and David Ambrose keep the rhythm section very interesting yet very tight. This is really cool stuff--including a really impressive (and so well-recorded) drum solo in the fifth minute! (9.5/10)

2. "Czechoslovakia" (6:21) rockin' music that sounds like both a Sandy Denny-led JEFFERSON AIRPLANE and a pissed-off Grace Slick-led RENAISSANCE (and even Canterbury bands like EGG and The Soft Machine). This Julie Driscoll is a force! The stripped down guitar + Julie center passage is so powerful--so much like the very best of the strong-Mama female singers of the second half of the 1960s. It's important to remember the Czechoslovakian uprising of 1968 that was so brutally suppressed by the Soviet army. (9.25/10)

3. "Take Me to the Water" (4:17) the "Negro spiritual" (that must surely have influenced Al Green's "Take Me to the River") here done in a fairly standard (for the time) gospel blues style in which it opens as a dirge before shifting into gear as a wake-like celebration. Very powerfully rendered. As I said above, this Julie Driscoll is a force! (This is really my first fully-focused exposure to her singing.) (8.875/10)

4. "Word About Colour" (1:38) Julie's anguished voice, here accompanied by a lone acoustic guitar, delivers another very powerful vocal. More bluesy folk than jazz-rock but that's okay. (4.625/5)

LP Side Two:
5. "Light My Fire" (4:21) Yep, The Trinity did a cover of the Doors' monster hit. Stripped down, bluesy, with some awesome funk/R&B bass from David Ambrose and virtuosic blues organ from the band leader. Julie gives a very passionate rendering and interpretation to the Jim Morrison vocal and Clive Thacker is rock solid. (9/10)

6. "Indian Rope Man" (3:22) here The Trinity take on a rather obscure Richie Havens song and give it the SPENCER DAVIS GROUP treatment. Stevie Winwood could not have done it better. The band is so tight! And what an organ solo by Brian! (9.125/10)

7. "When I Was a Young Girl" (7:03) droning organ softly cushions and floats Julie's plaintive vocals on their version of this 1952 Tex Galdden song that had been made famous by Feist and, more recently, Nina Simone. Tom's and gentle arpeggiated bass chords are added as the song goes on. Man! I find it hard to imagine anyone recording/performing this song better than Julie does here. Incredible! Makes Grace Slick's most impassioned vocals pale in comparison. Still, these amazingly emotional vocal performances do not help make either Jazz-Rock Fusion or Progressive Rock music launch. (14/15)

8. "Flesh Failures (Let the Sunshine In)" (3:04) a version of this song far more attuned to the stage performance from Hair than any of the pop versions that had been made by the likes of The Fifth Dimension and The Spencer Davis Group in the first years of its existence. Great performance from Julie but also from Brian's loud organ. (8.875/10)

     (Hair premiered on Broadway on April 11, 1968. It had premiered the year before [on October 17] Off Broadway [at Joseph Papp's Public Theater] but was such an immediate hit that it was moved to Broadway within six months. Its first soundtrack recording was released on May 6, 1968, as performed by the original Broadway cast. Within the first two years of its existence, the song was covered by other artists on vinyl recordings no less than 20 times. Hair was, by the way, the first rock musical to play on Broadway.)

LP Side Three (the "no Julie" side):
9. "Ellis Island" (4:10) a flat-out crazy display of solo organ play over a tight blues-rock motif. And the organ is recorded so cleanly! I have to reward the band, and especially Brian, for this one. (9.125/10)

  
10. "In Search of the Sun" (4:22) gentle-yet-insistent psychedelic blues-rock with Brian singing the lead vocal. He's really good! Not unlike Spurogyra's Martin Cockerham. Solid if unspectacular song. It's just so solid, so mature and well-polished that I have to reward it. (9/10) 

11. "Finally Found You Out" (4:12) more great blues-rock with great organ play--not as up-front in-your-face as his work on "Ellis Island" but definitely more dynamic and passionate. The guy is massively good! Piano and a more laid back background motif provided by the "cool" rhythm section. Song fades out. Apparently, there "wasn't time" to add the vocal/singing track before the song/album had to go to press.  (9.25/10)

12. "Looking in the Eye of the World" (5:02) a real "old"feeling blues piano-and-voice tune that sounds like something right out of Mark Isham and Charlélie Couture's music from the 1988 film, The Moderns. (One of my all-time favorite soundtracks.) (9/10)

LP Side Four:
13. "Vauxhall to Lambeth Bridge" (6:31) Julie is back with a more blues-folk-Americana-like performance that rivals anything Sandy Denny, Maddie Prior, Laura Nyro, Grace Slick, Karen Dalton, or even Nina Simone were doing at the time. The instrumental accompaniment is solely Dave Ambrose's MASON WILLIAMS-like acoustic guitar. Wonderful song with a vocal performance that stands out, for me, as one of the greats. (9.75/10) 

14. "All Blues Davis" (5:41) piano, bass, and drums launch into a unified march through a MILES DAVIS song with Julie Driscoll providing a true blues vocal over the top (something that is not present in Miles' original version from the 1959 masterpiece, Kind of Blue). Julie's performance sounds very much like the kind of highly-individualistic take Nina Simone would put on a classic song like this. Brian's piano work is great though the way the piano's sound is rendered on the record leaves a lot to be desired. (9/10)

15. "I've Got Life" (4:28) the weirdest and weakest song on the album, sounding far too much like an aberrant white Baptist corruption of a Negro Spiritual. The organ and other instrumental performances are awesome; it's just Julie's misfitted performance that grates. Too bad. I hate to see this amazing album with so many incredible Julie performances maligned and diminished. (8.375/10)

16. "Save the Country" (3:58) Julie's cover of Laura Nyro's peacenik anthem. The blues-jazz bent that Dave and Brian give the song is awesome. Julie's vocal seems a little loose and haphazard--not as well versed or invested as her other performances. Plus, it's poorly recorded. Then there's the unfortunate circumstance of giving little room or for the voices of the instrumentalists--other than David's excellent electric bass. Brian and Clive seem relegated to orchestra pit musicians for a rock musical. (8.5/10)

Total Time: 74:02

Though this album is by no means a straight up jazz-rock fusion, prog, or even jazz-rock album, it has many elements throughout the album that would make strong representation to all three of the newly-emerging musical genres. Where the album's music clearly stands out is in the stunningly powerful performances by singer Julie Driscoll, the dynamic organ play of Brian Auger (both in support and in lead capacities) as well as the near-virtuosic performances of the rhythm section performers, Clive Thacker and David Ambrose. Too bad about the album's final two songs.

90.78 on the Fishscales = A-/five stars; a masterpiece of folk- and psychedelic-tinged jazzy blues rock that happens to present some of the finest female vocal performances of the 1960s. 

MISSING LINK Nevergreen! (1972)

Proggy Jazz-Rock Fusion from Deutschland--produced and engineered by Dieter Dierks. Sadly, this is the band's one and only album.

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

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

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

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

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

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

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

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

Total Time: 36:46

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

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

ALAN WHITE Ramshackled (1976)

Drumming for Yes for less than two years, having admirably taken over for the iconic Bill Bruford (who had left for King Crimson), Alan was suddenly vaulted into the limelight due to his place at la batterie for one of Prog's (and the world's) most opulent/visible/groundbreaking bands. After Yes' massive nine-month US and world-wide tours to support the release of their 1974 studio album, Relayer, the band decided to take a break to recharge. During this time each of the band members chose to express their individual ideas in solo album releases: Steve Howe's Beginnings on October 31, 1975; Chris Squire's Fish Out of Water on November 7, 1975; Patrick Moraz' The Story of I in the Spring of 1976; Jon Anderson's Olias of Sunhillow on July 9, 1976, and this album, Alan White's Ramshackled in March of 1976. To put together Ramshackled, Alan gathered his most trusted friends and collaborators of old (pre-Yes), many of whom he met while working with The Mark-Almond Band, Bell + Arc, live touring with Ginger Baker's Air Force or Joe Cocker, or an album he played on for Johnny Harris as well as a short-lived psychedelic band called Griffin back in 1969 in which White, Craddock, Kirtley, and Gibson had all played.

     Though I've owned this album for 50 years now, and always loved it (though I would never consider it representative of my preferences in musical styles), I am really looking forward to hearing it under the fresh spell of having gotten to know the earlier work of artistst like Alan Marshall, Peter Kirtley, Kenny Craddock, Bud Beadle, Steve Gregory, and Colin Gibson.

Line-up / Musicians:
- Alan White / drums, percussion, vocals, producer
With:
- Alan Marshall (Riff Raff, Zzebra) / vocals
- Peter Kirtley (Riff Raff, Zzebra) / guitar, vocals
- Kenny Craddock / keyboards, vocals
- Bud Beadle (Riff Raff, Zzebra) / saxophone solo, flute
- Steve Gregory / tenor saxophone, flute
- Henry Lowther / trumpet
- Colin Gibson (Sanfu, Alan Hull) / bass, percussion
- David Bedford (Mike Oldfield) / orchestral arranger & conductor 
- The Martyn Ford Orchestra / strings

And, special guests:

- Jon Anderson / vocals (4)
- Steve Howe / guitar (4)

- Andy Phillips / steel drums (7)

- Madeline Bell / backing vocals (8)
- Joanne Williams / backing vocals (8)
- Vicky Brown / backing vocals (8)

1. "Ooooh Baby (Goin' to Pieces)" (5:32) an awesome funk tune from Peter Kirtley straight off the bat. It's driving, it's fun, it's funky, it's a cruisin' song! Alan's soulful LOU RAWLS-like voice (that reminds me of Arnaud Bukwald). Great album opener! Great Jazz-Rock Fusion. Really gets the blood pumpin'! (9.375/10)

  

2. "One Way Rag" (4:04) a great funk/R&B tune that sounds like Gerry Rafferty or Gilbert O'Sullivan singing (I'm assuming it's co-composer Kenny Craddock) and bounces delightfully with Colin Gibson's bass, percussion, Alan's drums, and, of course, Kenny's piano and organ play. Great contributions from the female background singers. (8.875/10) 

3. "Avakak (aka Twelve Ways to Drink Meths)" (6:54) this is a song composed by Peter, Kenny, and Colin seen as "Havakak" on the Riff Raff album Original Man. The version the band records here starts out sounding like the intro to Roger Hodgson's "Fool's Overture" before Peter turns it with an "Awaken" opening riff and the band jumps in with a very odd funk-Yes-like syncopated chord progression over which soprano sax and guitar provide the jazzy lead melody in two revolving parts before things stop and start the song over using the full band to accompany Kenny's piano part until a quiet excursion into "Waiting Room"-like psychedelic percussive play takes over at the four-minute mark for about a minute before the odd funk-Yes-like motif retakes and Steve Gregory or Bud Beadle supply a flying treated soprano sax solo over the top of the oddly time signatured Jazz-Rock--and then a Yes-like door opens, someone lets out a scream, and it's over. An excellent, utterly exhilarating tune. I like this version (though it is very different from the Riff Raff one) very much. (13.75/15)

4. "Spring - Song of Innocence" (5:00) gentle, soothing, soporific Hawai'ian-like music with some really cool and unusual instrumental sounds (thanks in part to guest stars Steve Howe and Jon Anderson as well as to Kenny Craddock's excellent keyboard contributions and Colin Gibson's expressive yet tender electric bass play) that make it sound as if it could have come from/been intended for Jon Anderson's Olias of Sunhillow album (which was to come out in July). (9.125/10)

5. "Giddy" (3:11) a Jazz-Rock tune that sounds at first like Nina Simone's Sinner Man before Peter's lead guitar signals a clear Allman Brothers reference. Alan Marshall's vocal on this Kenny Craddock-Colin Gibson song is awesome, amplifying the song's Jazz-Rock elements marvelously (as does Colin Gibson's excellent bass play). So much fun! (9/10)

6. "Silly Woman" (3:14) it's Reggae but it's so much more, it's Calypso, it's Ska, it's Afro-Cubano, it's fun and lively. Alan Marshall channels Joe Cocker, John Martyn, Van Morrison,  and even Paul McCartney all at the same time. (8.875/10)

7. "Marching into a Bottle" (1:59) acoustic guitar, flutes, orchestral woodwinds, and hand held percussion instruments create this quaint little anachronistic Neo-Baroque tune that should probably be on a GRYPHON or AMAZING BLONDEL album. (4.625/5)

8. "Everybody" (3:13) Alan Marshall has really allowed his voice to evolve deep into the funky world of Soul/R&B as his Lou Rawls/Sly Stone, backed by some soulful female background singers, the song and its unusual vocal delivery remind me of something that might be done by Frank Zappa, Captain Beefheart, Eric Burdon, or Kaz Lux. I love how Alan and the girls bring it together for the choruses. And then explosion and it's all over! (8.875/10) 

9. "Darkness" (5:35) yet another Gibson and Craddock composition, this one founded around a very cool swirling guitar arpeggio. The bulk of this jazzy, soulful R&B tune rests on the voice of Alan Marshall: in the first half it's anguished and insistent and then, after the orchestral break in the middle and Kenny Craddock's gorgeous classical piano play, it's Alan's achingly-emotional near-whispered vocal followed by, in the final 90 seconds, David Bedford's orchestral work over which trumpeter Henry Lowther lays down one of my favorite "goodbye" tributes of all-time. (9.125/10) 

Total Time 38:42

90.69 on the Fishscales = A-/five stars; a minor masterpiece of eclectic Rock and Jazz-Rock compositions that are masterfully performed and rendered (with great passion and soul). Of the five Yes solos between Relayer and Going for the One, this has always been my second favorite (next to Chris Squire's Fish Out of Water.) After coming to know the background of Alan's band mates I am happy to confirm that that bias continues to exist. Highly recommended for lovers of eclectic Rock 'n' Roll and/or Jazz-Rock: just don't be looking for Yes music!

LARRY CORYELL The Restful Mind (1975)

A collection of Coryell compositions performed and recorded with the help of three of the Oregon quartet: Ralph Towner, Collin Walcott, and Glen Moore.

Line-up / Musicians:
- Larry Coryell / acoustic and electric guitars
- Ralph Towner / guitar
- Collin Walcott / tabla and congas
- Glen Moore / double bass

1. "Improvisation on Robert de Visee's Menuet II" (8:14) a great fusion of rock, power jazz, and world folk/ethnic musical traditions with Ralph Towner's acoustic 12-string, Colin Walcott's tablas, and Glen Moore's double bass playing essential roles in the Oregon-like tapestry. But don't get me wrong: this is not an Oregon song; it's a Larry Coryell  composition and Larry's lead guitar (which sounds like one of Ovation's new plug-in electrified acoustic guitars) is almost completely in the lead. (13.375/15)

2. "Ann Arbor" (5:00) another acoustic guitar tune that sounds more like it came out of the Folk or World Ethnic traditions while Larry strums his steel-string acoustic tout seul. After about 30 seconds of introductory strumming, he switches to more classical-sounding picking, but then, in the third minute, he returns to more folk- (or bludgrass-) oriented strum and picking while Ralph, Glen, and Collin join in. Yes, bluegrass might be the more accurate category for this spirited music. Ralph, by the way, does an admirable job of harmonizing and countering Larry's picking, strumming, and riffing. Nice little tune. (9/10)

3. "Pavane for a Dead Princess" (5:39) Larry's one solo performance on the album sounds like the folk musings of any number of acoustic guitar masters from the 1960s and 1970s--even/especially, to me, Anthony Phillips. (It reminds me of the experience of listening to Ant's 2005 guitar master class, Field Day.) Beautiful music with quite evocative if anachronistic melody lines. (9.125/10)

4. "Improvisation on Robert de Visee's Sarabande" (5:20) more anachronistic acoustic guitar play, this time capturing a far-older feel than that of the  previous song. Even with the note-bending and other dynamic picking techniques added in the third minute (as Ralph, Glen, and Collin gradually "sneak" in). Some absolutely gorgeous melodies played with some rather extraordinary emotion. I think every guitar fan should hear this very special song. It is a masterpiece! (And a tear-jerker!) (10/10)

5. "Song for Jim Webb" (3:15) Considering the dedication offered in the song's title, there is a surprising lack of "earworm" melody hooks that was so typical of the compositions of Jim(my) Webb (author of songs like "Wichita Lineman," "MacArthur Park," By the Time I Get to Phoenix," and "Up, Up and Away"). Also, the spaciousness and simplicity of the music doesn't give much opportunity for the Oregon boys to contribute. (8.75/10)

6. "Julie la Belle" (5:46) an oddity that takes a while to develop, form, and reveal its true nature and style (something from the era of the Beat Generation). I like Larry's play with harmony and melody but Glen and Collin's Beat contributions are almost embarrassing. In the fourth minute, however, the song stops and picks back up in a totally different direction: this one feeling much more French Canadian--like the music of proggy folk bands like Harmonium and Conventum. I absolutely LOVE those last two minutes! (8.875/10)

7. "The Restful Mind" (3:09) another gorgeous solo steel-string guitar song built around arpeggiations of a circle of chords Larry has put together. Nice. (8.875/10)

Total Time: 36:25

This is not your typical Jazz-Rock Fusion (or jazz, prog, folk, world music, or even guitar) outing. Despite the accreditation of the Oregon contingent, the album is truly a solo acoustic guitar album: other than the opening song, there is little "extra" that Glen, Collin, or even Ralph add to Larry's music.

90.667 on the Fishscales = A-/five stars; a minor masterpiece of excellent acoustic guitar compositions. A pleasant and pleasurable listening experience of all lover's of the acoustic guitar.

SMAK Crna Cama (Black Lady) (1977)

Yugoslavian band (from Kragujevac, Serbia) that really led the progressive music scene in the 70s. (1977) An album by the Yugoslavian band that was recorded Recorded and mixed at Morgan Studios, London during April 1977 and then released first in Yugoslavia by PGP RTB as Crna Dama and then in 1978 with English titles, lyrics, and liner notes (and, yes, sung in a heavily-accented English) in Europe by the German label Bacillus Records with distribution by Bellaphon and then in the USA by Fantasy Records. 

Line-up / Musicians:
- Boris Aranđelović / vocals
- Radomir Mihailović / guitar
- Miodrag Petkovski / keyboards
- Zoran Milanović / bass
- Slobodan Stojanovic / drums, percussion
With:
- Morris Pert / percussion
Harmonium Quartet :
- Pat Nalling / violin
- John Knight / violin
- Brian Mack / viola
- Ben Kennard / cello

1. "Crna Dama (Black Lady)" ‎(3:34) I keep wanting to sing the lyric, "Life's the same, I'm moving in stereo" with the main motif of this song as its chord progression is exactly that of The Cars' 1978 hit song, but the rest of the song's orientation is very different--very rock-like, more like STYX, FOREIGNER, BLUE ÖYSTER CULT, or NIGHT RANGER. (8.667/10)

  
2. "Stvar Ljubavi (A Matter of Love)" (5:09) a very cool classic rock foundation offers singer Boris Aranđelović a perfect platform on which to clean his pipes, but more, guitarist Boris Aranđelović really gets to show his DAVID GILMOUR-like chops--and they are superlative (even if they are a bit too close to a classic Pink Floyd song from Dark Side of the Moon)! And such a solid band beneath the soloists! Great song. (9.375/10)

3. "Domaci Zadatak (Domestic Lesson)" (7:43) flanged bass and drums open this rocker as a driving near-disco drum track presents a rock instrumental of several parts that each enable the best display of each of the instrumentalists: bass, drums, guitar, and keys--all of whom are quite impressive, tasteful, and so well engineered. The whole band finish is great--especially as that's when Miodrag Petkovski's organ (and, later, synth) really get to soar. (13.375/15)

4. "Alo (Hello)" (4:04) this song takes its themes more from Jimi Hendrix, as Boris and Radomir play off one another's melody lines like a call-and-response tune. They're both very impressive at their instruments as well as with their ability to play off one another. Heck the whole band is impressive--as is the sound engineering. I wish the rhythm track was more than just that of "Black Betty." (9/10)

5. "Tegoba (Suffer)" (6:46) great sounding jazzy GEORGE GERSHWIN-like piano opening gives way to bass and the whole band around 1:00 whereupon the band gathers steam to the tune of an AL DI MEOLA-like fusion jam. Yes, these guys are definitely capable of handling the impersonation of the likes of Lenny White/Steve Gadd, Jan Hammer, Mingo Lewis, Stanley Clarke, and Al Di. Great song! (14.125/15)  

6. "Daire (Tambourine)" (3:45) another excellent blending of the LED ZEPPELIN/BLUE ÖYSTER CULT sounds/styles that exhibits more great musicianship. (9/10)

 
7. "Plava Pesma (Here Alone (Sad Once More))" (4:26) a slowed-down, blues-rock tune that sounds as if it could've come from GRAND FUNK RAILROAD. Boris Aranđelović is truly an impressive singer! I bet he could even fill in for Journey's Steve Perry and nobody would blink. The strings only really make themselves known at the end, which is nice but underutilized. (9/10)

Total Time: 35:29

This is more rock/prog rock than Jazz-Rock Fusion with vocals throughout. The musicianship of these band members is off the charts good--maybe even virtuosic! And the sound engineering throughout the album is far beyond what I expected.

90.68 on the Fishscales = A-/five stars; a minor masterpiece of Crossover or Eclectic Rock with some elements and straightforward examples of Progressive Rock and Jazz-Rock Fusion.

PASSPORT Garden of Eden (1979)

For Garden of Eden Klaus Doldinger has managed to retain the participation of the new core of collaborators that he had on the previous year's Ataraxia (Sky Blue); the only loss (and it is significant) is of the Louis brothers, Elmer and Roy (percussion and guitar, respectively). The album was released by Atlantic Records in the US and Canada on April 18, 1979.

Line-up / Musicians:
- Klaus Doldinger / saxophones, keyboards, clarinet
- Willy Ketzer / drums, percussion
- Kevin Mulligan / guitar, vocals
- Dieter Petereit / bass
- Hendrik Schaper / keyboards
Guest musicians:
- Kathy Bartney / vocals (4-6)
- Horst Ramthor / harp (2a)

1. "Big bang" (3:53) a long spacey/atmospheric synth intro is joined by Disco drums, percussion, and the rest of the band while Klaus steps in with a soprano sax to lead the way. There is a little bit of the ELOY sound emanating from this as well as, in the later portions, some JACO PASTORIUS-imitative bass play. (8.6667/10)

2. "Garden of Eden": (8:51) (18.875/20)
a) "Dawn" (1:54) the beautiful and soothing pastoral Nature intro that I've always loved. Yes, Mike Oldfield, and may have been source inspirations for this. (5/5)
b) "Light I" (1:53) enter Kevin Mulligan's English vocals, presented in a kind of YES/Jon Anderson mode. Then drums and electric guitar begin to introduce themselves before a second verse. Sax, Moog, and electric guitar add their ten cents worth along the way. (4.375/5)
c) "Light II" (5:04) now launching into a fun, forward-moving passage that reminds one of the music of NARADA MICHAEL WALDEN and THE ELOY as well as future Trevor Horn projects like The Buggles and Frankie Goes to Hollywood. Nice vocal melodies from Kevin and Kathy Barney. Excellent jazzy New Age prog. (9.5/10)

3. "Snake" (4:49) gorgeous journey down a lazy river. Great slow, drawn out melodies. (9.5/10)

4. "Gates of paradise" (3:47) more Hiram Bullock/Narada Michael Walden-like music, here bringing out the funk with some new slap bass and deep thrum chords. Vocals are okay, though the melodies are great, it's just that the multi-track (chorused?) effect on a lead vocalist that was popular at the time (as with Narada Michael Walden's treatment of his own voice as well as some of Al Jarreau's): a little schlocky. There's also a little more of the NOVA sound here. (8.875/10)

5. "Dreamware" (5:00) Disco with all of the concurrent tricks: slap-and pluck bass, Ernie Isley guitar sound in the rhythm (styled like George Johnson), Evelyn Champagne King hand claps, electric piano chords, and synth sound used for the solo over the top. Great quality upbeat and uptempo disco dance music. (9.125/10) 

6. "Good Earth smile" (5:04) another pop/radio-oriented tune that has one foot in the world of American Gospel-oriented Southern Rock and one in the Weather Report school of Adult Contemporary jazz. (8.6667/10)

7. "Children's dance" (3:39) another song that seems to come straight out of the WEATHER REPORT repertoire of happy-go-lucky pop tunes. (8.75/10) 

Total Time: 35:03

By far the proggiest of Klaus' albums. When they're proggy, the songs are really great. When he tries to turn back toward the latest trends in Jazz-Rock Fusion and Weather Report/Crusaders pop jazz it falls into the category of average (for that time very good).  

90.57 on the Fishscales = A-/five stars; an album blessed with great prog but then also cursed with schlocky, now-dated pop. Fortunately for we prog lovers, the progginess and high quality of the other explorations wins out.

JAZZ Q Symbiosis (1974)

A band from Czechoslovakia that I'd not heard of before this album. How such wonderful and creative music was coming out of Communist countries is a bit of a mystery to me--as well as how they were gaining access behind the "Iron Curtain" to the "Western" music that was obviously inspiring is equally curious. I might need to bone up on my 20th Century history a little.

Line-up / Musicians:
- Jiř Rotter, Leek Semelka, Pavel Dydovič, Vladimr Mik / backing vocals
- Vladimr Padrůněk / bass
- Jan Kubk / clarinet
- Jiř Tomek / congas
- Alexander Čihař / double bass
- Michal Vrbovec / drums
- Martin Kratochvíl / electric piano, piano, organ, harpsichord, leader
- Frantiek Francl / guitar
- Joan Duggan / lead vocals
- Radek Pobořil / trumpet

1. "Ze tmy do světla (From Dark to Light)" (6:05) plodding, cinematic music that is suddenly disrupted by an androgenous, at-times almost Janis Joplin ("Pearl")-like vocal from Joan Duggan: singing Portia's famous "The quality of mercy is not strained, …" from William Shakespeare's Merchant of Venice. while employing a little of John McLaughlin's "Resolution" beneath parts of it. (8.75/10)

2. "Ztracená láska (Lost Soul)" (6:05) a much-more-blues-rock song with raspy Pearl-like vocals singing what sounds like more famous poetry over some Jeff Beck like heavy blues-rock music. Joan Duggan's voice is strong, powerful, confident, and definitely the best part of these songs, but it's raw, bluesy style is not usually one of my favorites. Maybe the excellent musicianship beneath her helps elevate her performances. (8.875/10)

3. "Hvězdný pták (Starbird)" (7:25) opens as a beautiful, heavily emotional song to support the gorgeous vocal (in English) from Joan Duggan. Though slow and sometimes simple (and plodding) the music of the first three and a half minutes is filled with so many wonderfully interesting and engaging nuances and flourishes, and then there is an all-instrumental period in the fifth and sixth minutes in which electric guitar and electric piano get the chance to solo--and then the shift to Latin rhythms and scatting for the final 0:45 is totally wonderful. Not your usual prog lover's jazz-rock fusion song, but an excellent song anyway: great melodies  (14/15)

4. "Čaroděj (The Wizard)" (16:25) opens with 75 seconds of gentle electric piano play before bass line, rhythm guitar line, and drums and percussion line up to set up the Latinized rock foundation over which Joan Duggan again sings. She is quite a talent! After a couple of minutes supporting the vocal, the rhythm section continues on in the same SANTANA-like vein in support of a nice Martin Kratochvíl electric piano solo. In the seventh minute we see the return of Joan Duggan in the spotlight. I really like her vocal style: it reminds me a bit of Annette Peacock. Guitarist Frantiek Francl gets a little shine in the eighth minute before the music completely stops to allow some spacious electric piano chords to support electric bassist Vladimr Padrůněk's solo over the next two minutes. I really enjoy the dynamic range exhibited in this one: the upbeat happy-go-lucky parts supporting Joan's fun vocal contrasted with the heavier, more serious passage given to the bass solo and beyond. The musicians fall a little into more rudimentary blues-rock toward the end, but it's still a great listen. (27.5/30)

5. "Epilogue" (3:25) dreamy electric piano, electric bass, and "distant" horns and percussion populate this instrumental's sonic field as we bring the album to a close. It's a cross between Rainer Brüninghaus and "Auld Lang Syne." (8.75/10)

Total Time 39:25

To my mind (and ears), this is album's music is a step backwards for this band--or, at least, as step away from Jazz-Rock Fusion (which is, I have to admit, what I'm always hoping to find) and more into heavy blues-rock.

90.50 on the Fishscales = A-/4.5 stars; a minor-masterpiece of interesting and unusual vocal jazz-rock music.

RIFF RAFF Outside Looking In (recorded in 1972, not released until 1999)

WARNING: This is a release of material recorded in 1972 that represents two different bands containing some of the same musicians that just happen to overlap in that year.

Recorded 1972, unreleased until 1999. I was turned on to Riff Raff a few weeks ago so I've been slowly getting to know their music and their story. I was immediately impressed (and astounded that I'd never heard of them--even in my 18 years associated with ProgArchives) by all of their albums--which made the decision of which album to review first very difficult since, in learning their story I'd discovered that their first records--their debut album--had never been released at the time of its creation. But I do like to get to know a band/artist in chronological order if I can, so, of course I want to start with their first album: the problem is that their first album that became known to the public was their second album, the eponymously titled Riff Raff from 1973; Outside Looking In never reached public ears until 1999!

     As I've been listening to this album I've come to know that the opening 39 minutes represent material performed by the band's original lineup, a project calling themselves, STRABISMUS, which recorded this material in London in 1972. The second 23-minutes of "Bonus Tracks" represents Roger Sutton and Tommy Eyre's more-Jazz-oriented band, RIFF RAFF. Sutton, himself a former member of Brian Auger's Trinity project, continued to develop Riff Raff for the next few years with keyboardist Tommy Eyre, guitarist Peter Kirtley, and drummer Aureo De Souza before giving himself completely to Ian Carr's NUCLEUS. 

    Peter Kirtley's most notable credit post-Riff Raff was his contribution to an album that has always remained dear to me: Yes' Alan White's first solo album, 1976's Ramshackled., while also joining The Pentangle during their tenure in the 1990s. 

    Tommy Eyre himself was a product of previous collaborations with Aynsley Dunbar and Mark-Almond. He would go on to make significant contributions to successful albums by Zzebra, Alex Harvey, Gerry Rafferty, Gary Moore, John Martyn, Greg Lake, Michael Schenker, and Wham!. 

    Singer Alan Marshall was hired by Zzebra (at the suggestion of the band's newcomer keyboard player, Tommy Eyre) as their singer for the 1974-75 sessions and tour that would produce the material for the band's classic sophomore album, Panic, as well as a third and fourth album--which weren't released until 1999 and 2001, respectively. 

    Brasilian-born percussionist/drummer Aureo De Souza would also find himself hired by Ian Carr, as a percussionist, for Nucleus' mid-70s classic funk albums, but the material he recorded with the band never reached the public as part of their studio album releases--only surfaced years later (mostly in the 21st Century) when record labels Vertigo, Andy Gray's BGO (Beat Goes On) Records, and Esoteric Recordings began releasing retrospective CDs that included outtakes and live performances.

Line-up / Musicians:

As STRABISMUS:
- Alan Marshall / vocals
- Martin Ball / guitar

- Tommy Eyre / Hammond organ, keyboards, acoustic guitar
- Richie Dalton / saxophone
- Roger Sutton (Brian Auger's Trinity) / bass, acoustic guitars, vocals

- Rob Coombes (Juicy Lucy, Stealers Wheel) / drums, percussion & acoustic guitar
- Joe Peters (Jackie Jocko) / drums

As RIFF RAFF:
- Alan Marshall / vocals
- Peter Kirtley / guitar

- Kenny Slade (Joe Cocker) / drums
- Aureo De Souza / drums, percussion

- Tommy Eyre / Hammond organ, keyboards, acoustic guitar
- Richie Dalton / saxophone
- Roger Sutton / bass, acoustic guitars, vocals

(As Strabismus):

1. "Outside Looking In" (9:12) opening a debut album with a long-playing jam is bold and brave! I guess it lets the listener know what kind of band they thought of themselves (unless the song order was altered over time or never decided at the time of its first creation): not hit makers. The material here is heavy, fully Rock 'n' Roll with some creative touches, nice construction and delivery, more akin to hard rockin' guitar-jammin' bands like Cream, Spirit, Mountain, Humble Pie, etc. (18.125/20)

2. "The Blind Man" (8:16) opens with a much more acoustic orientation: bluesy piano, percussion and drums, Hammond organ, acoustic guitars, and vocals from a gravelly-voiced male singer. I'm immediately reminded of Southern Rock bands like The Allman Brothers and The Marshall Tucker Band. The cessation of the vocal leads into a rockin' jam with saxophonist Richie Dalton really letting loose with some wild screaming sounds. But then there is this totally unexpected transition around the five-minute mark into a more delicate, almost folk-Mexican acoustic guitar motif in which I believe four of the band members drop their instruments to pick up acoustic guitars and then what sounds like professional choral singers join in singing "Close your eyes, I can feel you" over and over before Alan rejoins to sing over them to the song's close. Very cool and unexpected song and music. (18.25/20)

3. "Bach B. Minor Prelude" (2:58) a full solo on a church organ! Luscious! Another very cool and unexpected song. (9/10)

4. "Feeling Paranoic" (0:43) a theatric song that feels like an outtake from Judas' or Jesus' performances in Jesus Christ Superstar. (4.375/5)

5. "Buthelezi" (3:42) drummer Joe Peters leads the way through a drum & percussion jam that involves Rob Coombes and others. I love this kind of stuff--especially in live performances (or to participate in) but I'm not sure of its place on a studio album: it seems as if this space could/should have been given to a proper full-band song composition. But then I'm beginning to wonder if there is a conceptual theme, intention, or organization to the album. Anyone? (9/10)

6. "So You Want To Be Free" (10:52) the music here is a return to the raw hard rock that we encountered with the album's opening song, "Outside Looking In." The raw, gravelly voice of Alan Marshall is back up front for the first couple minutes, then the music transitions into a vamp governed by a quick three-note riff that is repeated over and over while everyone just jams over and around it: saxophone, electric piano, drums, even, eventually, electric guitar. The sax solo is the best of the three; guitarist Martin Ball is not "fully formed" yet though he does sound better once the vamp slows down and punctuates itself like some Swamp Blues and he starts shredding for speed. (I guess he needed to get warmed up.) Martin's solo section ends with some well-timed whole-band chord bashing which sounds really cool and inventive--like something King Crimsonian--but then the music turns to smoother blues rock over which two male vocalists sing, gentler, harmonizing, before the music begins to slowly devolve into just a few percussion/cymbal noises and guitar and electric piano notes. Brilliant--and so creative! (18.25/20)

7. "Changes" (3:23) acoustic guitar accompanying Alan's singing on what sounds like a cover but apparently is just another of the album's Sutton/Coombes compositions. Simple and nice; definitely could have been developed into something bigger. (8.667/10)

Total time: 39:06

90.18 on the Fishscales = A-/4.5 stars; a near-masterpiece of eclectic, creative Southern Power Rock.

Bonus Tracks (as Riff Raff):
8. "Child Of The Summer" (5:59) a jazzy feeling song with a syncopated, complex construction and feeling vocal performance (reminiscent of Allan's performance on Allan White's Ramshakled). After the chorus the band revs up and becomes more rock-forceful--but it's still good! Nice wah-wah-ed electric guitar work, great background vocal work, great dirty electric piano, and awesome bass, drums, and percussion at the base. This is the rock-perspective to Jazz-Rock Fusion that I've been hoping to find more of! (9.25/10)

9. "For Every Dog" (4:05) a truly awesome acoustic Southern Rock song that should/could've been a radio-friendly hit back in 1973. Great weave of instrumental performances blessed with a weave of awesome group harmonized vocals. Shades of The Youngbloods, Crosby, Stills, Nash & Young, Ozark Mountain Daredevils, Pure Prairie League, or the early Doobie Brothers or Eagles. (9.5/10)

10. "Morning" (5:57) piano-based soft bluesy light folk/Americana pop arranged with an odd triple-hop at the end of each measure. The singer is mostly backed by another harmonizing vocalist (or vocal track) while acoustic guitars, bass, and gentle drums back/accompany the piano and singers. I believe a flute may also be in the mix though its replication of the piano's legato may be just be a second piano track. A very pleasant, not-quite-Cat Stevens, not-quite-Harry Nilsson tune. (8.875/10)

 
11. "The Garden" (6:59) bluesy solo piano opens this for about 30 seconds before Allan and the background choir vocalists join in. The song sounds almost like a church/liturgical piece--something one might hear in the countryside villages of Ireland. Strummed 12-string acoustic guitar, bass, congas, and drums slowly, almost surreptitiously, join in as Allan gives his hear and soul to his vocal performance. There is definitely a flute in this one--entering just before the piano ramps things up with more volume. There is a little Dave Mason "We Just Disagree" sound and feel here. Then Allan really brings it: belting out with two minutes to go but then things quickly de-escalate as he and his backing singers sing softly about the importance of our ancestor/elders. It drags on a bit but it's a very nice song with a great vocal performance and some nice, positive lyrics. (13.375/15)

Total time: 24:00

90.48 on the Fishscales = A-/five stars; a minor masterpiece of Jazz- and Rock-informed Southern Folk Rock.

Total Time: 62:06  

I don't usually review "bonus" material in my album reviews (because I want to treat the material as it would have been heard in the year it was recorded) but then when this was (finally) released in 1999 it arrived in CD format and, thus, being its first exposure to the public, should be heard as a whole. The problem, of course, comes with the fact that the material is really the result of two completely different bands: one that never really persisted, the other which came out and toured for a year or so before scattering its members across the musical spectrum in the UK and US. I definitely like both "albums" though the Riff Raff "bonus" material is more of the kind of stuff that I'd listen to over and over. (I almost want to rate the two "albums" separately!  

91.111 on the Fishscales = /stars; a minor masterpiece of Jazz-infused Southern Folk Rock. 

VOLKER KREIGEL With a Little Help from My Friends (1968)

One of those Renaissance men that could have found success in many (any?) careers, this album was Volker's debut as a band leader. After stints with Ingfreid Hoffmann and Klaus Doldinger in the mid-60s, for With a Little Help from My Friends we find the creative guitarist working with some of the same musicians that he worked with on Klaus Doldinger's Goes On album while also working with drummer Peter Baumeister for the first time. Tracks A1 to A4 were recorded in 1968 in Köln while Tracks B1 to B3 were recorded in 1968 in Frankfurt. The album was then released by Liberty Records, also sometime in 1968. ‎

Line-up / Musicians:

- Volker Kriegel / guitars

With:

(in Köln):

- Peter Trunk / bass (A1 to A4)

- Cees See / drums (A1 to A4)

(om Frankfurt):

- Günter Lenz / bass (B1 to B3)

- Peter Baumeister / drums (B1 to B3)

- Claudio Szenkar / Vibraphone (B1 to B3)

A1. "With A Little Help From My Friends" (3:13) though quite faithful to the Beatles' original vocal melody lines, Volker is so accurate and precise as to almost seem reverential (i.e., not the creative Jazz treatment I was expecting). (8.875/10)

A2. "Blues For Instance" (5:10) definitely built/based on American Blues construct and melodies, Volker, bassist Peter Trunk, and drummer Cees See give ample life to this original composition. Not my favorite type of music, but the trio really bring their best to make it both interesting and impressive. (8.75/10)

A3. "Norwegian Wood" (2:20) now this is more of what I was expecting from Volker's first tackle of a Lennon & McCartney tune: creative interpretation, juxtaposition, variation, and improvisation galore; he's using the original as a jumping off point, not as a template to follow respectfully close. The injections of Jazz twists and turns are rampant and replete--and nary a sitar or sitar-imitation necessary! (9/10)

A4. "Traffic Jam" (3:59) the fourth and final song from the Köln studio recording sessions finds Volker stretching out with his band on this original composition that is founded in more of a folk Jazz tradition similar to the works of Django Rheinhard but Volker finds his usual ways of making it his own: expanding Django-like phrasing into American Jazz traditions pioneered by Charlie Christian as well as sneaking in a some flourishes of psychedelic rock into the last minute of the song. This, to my mind, is the first song that really begins to show Volker's wildly creative genius in tandem with his virtuosic dexterity. I really like drummer Cees See's instinctual sensibilities and control when he fully joins in around the halfway mark. (8.875/10)

B1. "Morandi" (3:29) another Kriegel original that finds Volker exploring the sounds and styles of Spanish classical guitaring of Rodrigo, Segovia, Niño Ricardo, and Manolo Sanlúcar. Most people think of Volker as an electric guitarist but I'm here to tell you that he was an amazing acoustic guitarist as well. As I suggested in this review's introductory paragraph, I consider Volker quite the eclectic musician: a Zelig who could and would transgress fearlessly into any style or genre of sound or music with an ease that I credit to intuition as much as to intention--and the dude was totally self-taught! (9.125/10)

B2. "Na Na Imboro" (8:42) a composition from Claudio Szenkar, the Vibraphonist sitting in on all of the songs on Side Two (those songs recorded in Frankfurt). The main melody and structure have quite a similar feel to the song "Mas Que Nada" (made famous internationally in 1966 by Sergio Mendes & Brasil '66). While Peter Baumeister flails away with great vim and vigor, bassist Günter Lenz keeps up as Claudio and Volker trade vibrant and dynamic solos (Volker even using a little 12-string guitar near the beginning), both challenging the other to up their game, even urging the other on from beneath the soloist's spotlight while the other is soloing! Very cool and energetic Jazz! Virtuosi, both! (18.625/20)

B3. "Interpunctuation" (4:44) though Claudio and Volker lay down the chords, this song presents itself as more of a vehicle to show off the drumming talents of Peter Baumeister. After the first minute, though, Peter and Günter settle into something structured while Volker nad Claudio take turns soloing, Volker riffing with such smooth fluidity as to surprise and astonish, over and over again. Claudio uses his genius to show his chord play during his solo (toward the end). I kind of wish Peter's drums were mixed a little more quietly into the final mix: they can be a little overbearing. (9.125/10)

Total time 31:37

Though for whatever reason I find myself resistant to listening to Volker Kriegel material, I always come away super impressed by this musician's abilities. He attacks the guitar with such intuition and virtuosity and yet he somehow makes it sound so easy! There are other fluid guitarists out there but I can think of no other who makes his fluid movements and clear note play seem as effortless as Volker--even here, at age 25, in this, his first record as a bandleader. And then there's the factor of his compositional abilities: these four original compositions of his are so good, so complete, and so confident, that it makes the listener swear that they must be covers of old classic songs by much more mature and practiced composers!  

90.47 on the Fishscales = A-/five stars; a minor masterpiece of proto-Jazz-Rock Fusion: here fusing jazz interpretations of a variety of musics (Pop, Spanish, American Blues, and Brasilian) with eclectic meanderings from his encyclopedic mind. Brilliant! Volker is a force! And I need to hear more of Claudio Szenkar's work!

KLAN Mrowisko (1971)

Early (First Wave) Jazz-Rock from Poland. This band's debut, we find them experimenting with blending several styles including Blues-Rock, Psychedelia, Procol Harum-like prog, orchestra-enriched lounge music, and more. The album was released sometime in 1971 by Polskie Nagrania Muza.

Line-up / Musicians:
- Marek Alaszewski / guitar, lead vocals, composer
- Maciej Gluszkiewicz / piano, organ
- Roman Pawelski / bass
- Andrzej Poniatowski / drums, vocals

1. "Sen (A Dream)" (3:17) what feels like an ANTHONY PHILLIPS guitar piece opens this for the first 1:07 before a pause unleashes a bouncing organ chord, funky bass line, and Michael Giles-like drumming with simplistic guitar riffs over the top to announce the presence of melody. In the final 30 seconds there is this all out burst of WHO-like energy being expressed/expelled by all of the band members--which then seems to bleed/lead into the SANTANA-like frenzy that is the next song. A three-part suite in three minutes! Wow! (9.333/10)

2. "Kuszenie (Temptation)" (3:29) the SANTANA-like percussion-driven full-band jam that features everybody flying at full speed. Maciej Gluszkiewicz' organ impresses as do the performances of all of the quartet members. (9.25/10)

3. "Nerwy Miasta (The Nerves Of Cities)" (3:31) a slowed down PROCOL HARUM-like sound palette that comes off sounding like something from a Blues-Rock band like anything lead by vocalist ALEX LIGERTWOOD, Billy Gibbons, or 21st Century Polish band LIZARD. At the very end the band do a quick shift into high gear for minute of rousing organ-led instrumental fun to finish things off. (8.875/10)

4. "Senne Wędrówki (Wandering Dreams)" (3:52) orchestra-supported blues rock! Interesting! Quite like the sound of PROCOL HARUM. Nice imagination! (9/10)

5. "Taniec Wariatki (The Madwoman's Dance)" (2:02) rock-infused theatric cabaret music (almost musique concrète) with interesting call-and-response playfulness between the instrumentalists. Quite creative. (4.625/5)

6. "Taniec Czterech (The Four Men's Dance)" (1:37) fun/funny open air, city green music by the local marching band. Nice drumming. (4.375/5)

7. "Na Przekór (Against Everything)" (2:16) opens like some folk rock from one of the Summer of Love's outdoor music festivals--with vocals (DON BREWER-like lead with Gospel church choir backing), like a. moralistic hippy musical. (4.625/5)

8. "Nasze Myśli (Thoughts)" (5:10) pensive four chord progression arpeggiated by guitar with organ, drums, and bass backing while lead singer croons like a South American folk singer singing through the city center's public address system (or else LIZARD's Damian Bydliński). The very pleasant and comforting song contains a somewhat-spirited organ solo but is really just more of a nice ballad. Interesting vocal weave at the finish. Reminds me of 1990s QUIDAM. (9/10)

9. "Mrowisko (The Hive)" (4:15) unusual opening with drums and organ playing cat-and-mouse-in-the-mirror for the first 35 seconds. Then a pause opens the door for a classical guitar and intermittent bombastic "symphonic" bursts of accompaniment and antiphonal response--something that gets drawn out for a minute, stumbling and fumbling, until finally fully developed at the three-minute mark. From there we get a minute of song with singing. Weird. (So like the 21st Century music of Polish band LIZARD). Yet interesting. And creative. (9/10)

10. "Pejzaż Z Pustych Ram (Landscape Of Empty Frames)" (4:31) gentle electric guitar musings accompanied by responsive ghost-vocalese open this before a fully-meted song presents itself at 1:10. Singer Marek Alaszewski sounds like Jacques Brel during the delicate verse, but then things amp up for the chorus, Marek switching voice tones to something more RPI like as choir vocals chase him around like a church choir. Nice bass work from Roman Pawelski as the band and vocalists sustain the chorus intensity from here to the song's end. Very nice: emotional. (9/10)

11. "Taniec Głodnego (The Starvelling's Dance)" (2:24) PROCOL HARUM palette and slow militaristic pace as organ swirls, drum and bass keep funereal time, and wooden flute (recorder) presents and carries the lead over the top. The opening motif switches into something more dance-oriented at 1:38 as Roman shifts to a walking bass line. Sounds like a wonderful night for a Moondance (Van Morrison)! Nice! (4.5/5)

12. "Epidemia Euforii (Epidemic Euphory)" (3:46) not sure what is meant by this song's title, but the music feels more derivative of a combination of early British Rock and the U.S.'s Beatnik styles. By the time the band really kicks into full gear we're presented something that sounds more like Steve Winwood's first band, The Spencer Davis Group, as well as, at the percussion end, like The Chicago Transit Authority (with, of course, the Damian Bydliński lead vocal voice). (8.875/10)

13. "Sen (A Dream)" (1:49) all four members of the rock combo are here represented with Marek dusting off his recorder again to muse over the gentle/calming nature-backed music. (4.375/5)

Total time 41:59

A very creative band of proficient musicians who create an unusual but very pleasing style of progressive rock: their songs are either isolated vignettes of imagination or conglomerations of such all smashed together. The bottom line is: that it works! I especially like the interesting use of choral backing vocals and full-spectrum and active percussion tracks.

90.32 on the Fishscales = A-/4.5 stars; a collection of what feels like experimental and highly-idiosyncratic musical ideas coming from a very creative and skilled quartet of young musicians that results in a minor masterpiece of early progressive rock music. (There is little or no Jazz much less Jazz-Rock Fusion here). 

DREAMS Dreams (1970)

Jazz-infused rock music in the CHICAGO/BLOOD SWEAT & TEARS vein from New York City. Recorded in 1970 at three CBS studios in New York City and Chicago, the band's first of only two albums was released in November by Columbia Records.

Line-up / Musicians:

- Michael Brecker / tenor sax & flute

- Randy Brecker / trumpet & flugelhorn

- Billy Cobham / drums & percussion

- Jeff Kent / keyboards, guitar & vocals

- Doug Lubahn / bass & vocals

- Barry Rogers / trombone & Wagner tuba

- Edward Vernon / vocals

- John Abercrombie / lead guitar

1. "Devil Lady" (3:33) a very concise BS&T-modeled song. (I get the very distinct feeling that the iconic LaBelle song, "Lady Marmalade" pretty much lifted the music from this song,.) Solid song that might have deserved radio airplay. (8.75/10)

2. "15 Miles to Provo" (3:01) a more mainstream pop-oriented song of the CHICAGO, Jimmy Webb or Eric Burden orientation--except for the elaborate play of the horn section that joins in (and dominates) late in the first minute. Besides the dynamic (though oddly engineered) horn play, I like the organ play here from Jeff Kent. (8.75/10)

3. "The Maryanne" (2:25) a very pretty strummed-acoustic guitar-based love song, bass and horns join Doug Lubahn and Edward Vernon as the song progresses. Nice. (9.25/10)

4. "Holli Be Home" (5:42) delicate cymbal play with electric guitar harmonics makes for a very pretty opening. "Distant" horns join in before Ed Vernon takes the lead in vocals. He's mixed a little into the back of the mix--sounding like a song from Broadway's Godspell. The horns are so amazing in support--even getting lead time third minute's instrumental passage (with electric guitar and Tenor Sax). Such a well-constructed song; too bad the sound mix is a little off. Nice song! (9.25/10)

5. "Try Me" (5:10) hard driving jazz-infused rock music with Sly Stone-like vocals, very tight, dynamic, and essential horn play, solid bass play, and emphatic drum play. Watch out world: here is Billy Cobham! (9/10)

6. "Dream Suite: Asset Stop/Jane/Crunchy Granola" (15:21) the first movement is a totally-R&B groove with tenor sax to start it out before the band chimes in and supports vocalist Edward Vernon on a very David Clayton-Thomas-like bluesy-rock performance. The wild horn interplay in the brief instrumental passage in the fourth minute is quite remarkable--and it continues after Ed's next soulful passage. (A great vocal performance here, by the way.)

     The transition into the second movement, "Jane" is quite murky--almost uneventful as the band members just seem to peter out. At the end of nearly a minute of this nebulous amorphous pool the band reemerges with a more blues-oriented song. One simply cannot help but notice the dextrous skill of these musicians in so many instances of this album, here Billy Cobham's lightning fast fills and the horn players' remarkably precise accents. 

     The third and final movement of this is hard-drivin' jazz-rock fusion, "Crunchy Granola," sounds like it could come from Side One of CHICAGO's 1969 debut album, Chicago Transit Authority--the most accomplished and jazz-rock side of that wonderful album. Billy really gets to shine here beneath all of the funky elements interplaying above. It presents as a long high speed jam until the final two minutes when the music again devolves into the kind of soup of malaise that occurred at the end of the first movement--but is now rescued by an impressive Billy Cobham drum solo. Cool! Wish it had all been as catchy and dynamic as that first movement. (26.5/30)

7. "New York" (5:43) announced by a repeated horn bank chord before dynamic bass, drums and keys jump in--with choral vocals singing a very engaging melody with anthemic lyrics. Great organ and tenor sax performances in the first instrumental passage, trumpet in the second, electric guitar in the third. Such a great, lively tune! The horns, bass, and group vocals are the definite winners here! (9.75/10)

These musicians are so well-adapted to one another --and the horns are incredibly tight when they need to be yet incredibly skilled when they contribute as individuals.

90.278 on the Fishscales = A-/4.5 stars; a near-masterpiece of incredibly well-performed jazz-infused rock music from a veritable all-star lineup of future Hall of Fame artists. 

BLOOD, SWEAT AND TEARS Blood, Sweat and Tears III (1970)

The first BS &T album I bought. I found it greatly disappointing but it served my musical education process by helping me to define the kind of musics I did not like. 

Line-up / Musicians:

- David Clayton-Thomas / lead vocals, arrangements (6)
- Steve Katz / guitars, harmonica, lead vocals (2)
- Dick Halligan / organ, piano, electric piano, harpsichord, celesta, flute, alto flute, baritone horn, trombone, vocals, arrangements (2, 5, 7)
- Fred Lipsius / alto sax, piano, electric piano, musical box, vocals, arrangements (1, 6, 10)
- Lew Soloff / trumpet, piccolo trumpet, fluegelhorn
- Chuck Winfield / trumpet, fluegelhorn
- Jerry Hyman / trombone, bass trombone, recorder
- Jim Fielder / bass, arrangements (5)
- Bobby Colomby / drums, percussion, vocals, arrangements (10), co-producer

1. "Hi De Ho" (4:25) never a favorite of mine though I recognize the talent, skill, and hard work that went into pulling this one off. (8.75/10)

2. "The Battle" (2:43) the harpsichord opening and recorder joining in as Steve Katz provides the serious vocals of this anachronistic tune. Inspired by THE ASSOCIATION's "Requiem for the Masses"? I've always liked the Baroque Revival trend of the 1960s. (9.125/10)

  
3. "Lucretia MacEvil" (3:03) trying to make more out of the success of "Spinning Wheel." Great performances but, come on, Guys! Once is enough! (8.875/10)

4. "Lucretia's Reprise" (2:35) now, isn't this a little embarrassing and tacky?! Two times through the same song (though this one is less "Spinning Wheel" and more Brass-Rock exposé. And, yes, David really does let his full TOM JONES come shining through. (9/10)

5. "Fire and Rain" (4:02) trying to make James Taylor's masterful and iconic tune more serious, more poignant. I can understand but this is the kind of stuff that should be saved for live concert encores. I'm not really a fan of the brassification of the tune, either. (8.875/10)

6. "Lonsome Suzie" (4:35) piano jazz-blues over which David shows off his softer, subtler LOU RAWLS side. The soft, subtle horn arrangements are quite a sublime touch but the rest is kind of . . . unnecessary. (8.75/10)

7. "Symphony for the Devil/Sympathy for the Devil" (7:49) now this is an interesting version/take on an all-time rock classic. It feels quite a bit like Andrew Lloyd Weber's material for Jesus Christ Superstar, which was written and partly recorded and being rehearsed when BS&T were recording the songs for this album. In fact, many of the themes and palettes seem to mirror the JCS album quite directly--despite the fact that JCS didn't get released until October of 1970. (BS&T 3 was released by Columbia Records in June of 1970.) So, which came first? Were BS&T playing this in their controversial European tour during the fall and winter of 1969 and 1970? I do, in fact, really like this rendering of of the Stones iconic song--maybe even better than the original (especially the "Sympathy for the Devil" half). (13.5/15)

8. "He's A Runner" (4:15) my favorite song on the album, it's a cover of a Laura Nyro composition, there's just such a cool lounge vocal jazz vibe to this music and these performances, start to finish--like real professionals of the club scene, American and European. (9.5/10)

9. "Somethin' Comin' On" (4:33) my second favorite song on the album. It's a cover of a Joe Cocker tune. Too bad when I was young I never gave this album's Side Two much attention cuz as I hear it now I hear/feel the best of this band as well as the best of the Brass Rock phenomenon. It's as if they've snuck Terry Kath to sing over the BS&T band's music while using both Chicago and BS&T's horn players. I love Halligan's organ play. (9.25/10)

10. "40,000 Headmen" (4:40) a really interesting multi-part song attributed to the unknown Fred Lewis, it's got slow sections, child lullaby sections, brass rock passages, and lively uptempo jazz-rock parts. Great song! All hail Side Two! (9.125/10)

Total time: 42:20

90.24 on the Fishscales = a low five stars; despite the mostly flat renderings of the (to me) questionable song choices and Side One, the album only gets stronger as it leaves its "Spinning Wheel" past behind and chooses to explore its own preferred styles (on Side Two). For such a talented band I wish they could/would consider writing and exposing their own writing material and not just rely on covers. I find myself reluctant to include this album in the context of a pop or prog or even Jazz-Rock Fusion domain but it does contain some really finely crafted songs.  

KORNI GRUPA (KORNYLANS) Korni Grupa (1972)

An early fan-favorite from Belgrade, Yugoslavia (now Serbia). 

Line-up / Musicians:

- Zlatko Pejakovic / lead vocals

- Josip Bocek / electric & acoustic guitars, backing vocals, arrangements (1)

- Kornelije Kovac / organ, piano, electric piano, harpsichord, vibes, backing vocals

- Bojan Hreljac / bass, percussion

- Vladimir Furduj / drums, congas, tambourine

1. "Glas sa obale boje" (4:27) except for the two tracks devoted to THIN LIZZY-like "twin" guitars, this song sounds like a song from a GRAND FUNK RAILROAD album of this time. Nothing Jazz-Rock Fusion about this bombastic prog-related song. (But it may have been popular in Yugoslavia). (8.5/10)

2. "Put na istok" (14:20)  (26.66667/30):

- Prvi dan - more solid proto-prog like blues-rock sounding like something coming from Latin America at the same time. (8.5/10)

- Drugi dan - shifting a bit into slightly more funk and jazziness--and then TRAFFIC-like, then back to blues-rock with a little more power. (8.6667/10)

- Dilema - the BANCO MUTUO SOCCORSO (or AREA) comparisons are warranted for this gentle little baroque keyboard-centric movement. (4.5/5)

- Zemlja - AREA might be the more appropriate band to compare the final movement to--especially dute to the hard-infusion of Serbian/Balkan/Ottoman music. (5/5)

3. "Moj bol" (10:27) more disciplined jazz-rock with true jazz foundations, electric instrumentation as well as Serbian percussion play. Vocals joining in during the second and third minutes again feel very RPI-like--the whole song's vibe becoming much more BANCO-like from here on despite some very TRAFFIC/"Low Spark of High-Heeled Boys" passages. Nice searing electric guitar soloing in the eighth minute. Quite an excellent and deeply satisfying song. (18.5/20)

4. "Bezglave Ja-Ha horde" (6:46) more nice-flowing Jazz-Rock Fusion that is a  vehicle for vocals from the very start--again giving it a very RPI sound and feeling. But it's so good! The vocalist has the voice and talent quite like AREA leader DEMETRIO STRATOS! If this had appeared on an RPI album during the same year it would have been an instant classic! (14.5/15)

5. "Tata Ko i mama Spo" (4:12) opening like a GEORGE HARRISON song, guitars (acoustic strumming, "weeping" electric soloing in the background). Full band joins in as vocalist starts to sing his powerful. voice--this time reminding me very much of LOS JAIVAS' lead vocalist Eduardo "Gato" Alquinta on the Pablo Naruda album. It's okay for a 1960s blues/folk rock song. (8.5/10)

Total Time 40:12

Not pure Jazz-Rock Fusion, more of an eclectic run through early blues-rock prog rock with some jazz-infusions and, more, lots of local ethnic melodies and styles as well as ethnic Serbian instruments. There are more instances of the band showing its being inspired by Grand Funk, Traffic, Santana, and Banco Del Mutuo Soccorso than any jazz-rock fusion band. 

90.20 on the Fishscales = A-/4.5 stars; a minor masterpiece of early but eclectic (and imitative) prog music.  

LARRY CORYELL Basics (Recorded in 1968 and 1969; released in 1976.)

The songs collected and packaged here were recorded in sessions that happened in 1968 and 1969 but the material for Basics was not compiled and released by Vanguard Records until 1976. The music here is predominantly blues and blues-rock with very little Jazz-Rock Fusion.

Line-up / Musicians:
- Larry Coryell / guitar, vocals
With:
- Michael Mandel / organ
- Ron Carter / electric bass
- Chuck Rainey / electric bass
- Bernard Purdie / drums
- Steve Haas / drums
- Ray Mantilla / percussion
- uncredited / saxophone (1, 7)

1. "Call to the Higher Consciousness" (5:17) a very basic blues rock song constructed from a very basic blues chord progression. Larry, an oddly uncredited saxophone soloist, and congas take turns playing over the basic blues rhythm track as provided by front-mixed bass, drums, Ray Mantilla's percussion play, and Mike Mandel's distant organ. Sounds like a garage practice session for a new high school "band" of 16-year olds (albeit, gifted 16-year olds). No disrespect to Larry, but Ray is the only one here on this recording that sounds like he's on a professional level. (8.66667/10)

2. "Slow Blues" (4:22) pure blues. Some top notch blues guitar play from the bandleader--and I've seen/heard a lot of the greats! And pretty well recorded (as opposed to song #1). A solid blues song with some praise-worthy lead guitar work. (9/10)

3. "Friday Night" (2:22) more blues rock, this time with a little more Swamp fell and a lot more Buddy Guy-like rock orientation to it. I can hear quite a bit of Stevie Ray Vaughn in this one. Great bass and drum play from Chuck and Bernard. (I'm assuming.) (4.75/5)

4. "Half a Heart" (3:30) a SANTANA-like song that has a melody to hook onto as well as some mature structure with multifarious chord sophisticated progressions and more stunning lead guitar work (though much more rock-oriented on this one) and vocals! In the second half of the second minute. (He's got a really good voice!) Is this the song that spawned Becker and Fagen's "Do It Again"? Sure sounds like it!   (9.33333/10)

5. "Sex" (4:32) a rock-sided blues rock tune with a looseness that reminds me of a Stevie Winwood song. Great percussion and bass work while Larry wows us yet again with his ROGER McGUINN/Byrds-like/inspired 12-string lead guitar work. (9.25/10)

6. "Tyrone" (3:00) Larry covering a Larry Young composition with the same lineup and sound palette as the previous song. There is a little "Walk on the Wild Side" feel coming from the bass players lines. Nice solid team of drums and congas behind Larry's impressive guitar phrasing and skills. (8.875/10)

7. "Jam with Albert" (2:55) could the uncredited saxophone player on songs 1 & 7 be none-other than ground-breaking musician Albert Ayler--a man who would be dead within two years of these recording sessions (at the ripe young age of 34)? Given Larry's ubiquitous and fearless full immersion into the New York City music scene since his arrival in 1965 my hypothesis would not be a far stretch--and with the way the musical performances unfold on this song, I would not put it past the two, either. Nice rock song that feels and sounds like something that could've come off of a Jeff Beck album of the same time (Larry is really cooking on that rock guitar--and the rhythm trio [bass, drums, and congas] are incredibly tight!) (8.875/10)

8. "Organ Blues" (5:19) the only song on the album in which an organ plays a significant role, the interplay between Larry and Mike Mandel feels very loose and comfortable: both very mutually respectful and supportive. (This song represents the birth of a long and very industrious collaborative relationship for the two.) Otherwise a very standard-sounding blues song--one that sounds as common as an I-IV-V or I-VI-IV-V progression is in rock music. (8.875/10)

Total Time 31:17

I don't know if the music on this album is ordered in chronological order according to when they were first recorded , but they almost play out like that: simplest first, most sophisticated/mature toward the end. Most all of my individual song ratings are higher than my musical tastes would have predicted. This is due to the fact of nice sound recording, great instrumental performances--especially from the often-jaw-dropping play of one Lorenz Albert Van DeLinder III (aka Larry Coryell).

90.167 on the Fishscales = A-/five stars;a minor masterpiece of Blues Rock that might very well also be considered an example of proto-jazz-rock fusion--certainly an astonishing display of guitar pyrotechnics: each song a master class unto itself. HIGHLY recommended to any fan of the evolution of the electric guitar and for any fan of the highest caliber guitarists who ever wielded an axe.

BRIAN AUGER's OBLIVION EXPRESS Reinforcements (1975)

Brian and the gang jump full-on into the world of the funky Pop R&B!The album was recorded at Trident Studios in London in March 1975 and then released in 1975 on RCA Victor.

Line-up / Musicians:
- Brian Auger / organ, electric piano, piano, Moog synthesizer, Freeman string machine
- Alex Ligertwood / vocals, guitar, percussion
- Jack Mills / guitar
- Clive Chaman / bass, flute
- Dave Dowle / drums
- Lennox Langton / percussion, congas

1. "Brain Damage" (8:01) grooves in a funky way similar to DEODATO's "Superstrut" for the opening minute, but then it deviates into more of a Kool and the Gang "Hollywood Swingin'" funk/R&B groove. Lots of fun funk play for the first two minutes, then Brian enters with his lead Fender Rhodes, then Jack Mills takes over on his hard-plucked electric guitar with a surprisingly fine guitar solo. Brian's organ is next, distorted and dirty, he drives home the cognitive dissonance alluded to in the song's title. Lennox Langton next on congas then back to Brian's Fender Rhodes. Excellent and surprisingly laid-back tune despite the dynamic play of virtually everyone involved. Just happy fun. (14.125/15)

2. "Thoughts from Afar" (6:28) nice melodic weave of reverbed Fender Rhodes, guitars, and bass joined by Alex Ligertwood on vocals before the end of the first minute. Brian's Moog gets some action alongside Alex's wordless vocalese before the smooth bass and drums float Brian's sparkling Fender Rhodes in quite the beautiful solo in the fourth minute. Alex returns with his voice locked into the feeling of the lyrics he's singing in a most beautiful and powerful way. (9/10) 

3. "Foolish Girl" (6:02) funky blues-rock meant to be pop rock, not prog or J-R F. Fine musicianship and really excellent performances from Alex and the two guitars but not really my cup of tea. (8.875/10)

4. "Big Yin" (5:16) from the opening notes one can tell that this is another song intended for the Rufus/AWB/EW&F audiences. It's nice, well constructed and layered, with tight performances all over--with Brian soloing on both his organ and Moog with some awesome energy and more great vocal performance from Alex--but it's just missing something--missing the "hook" to make it memorable. (8.875/10)

5. "Plum" (4:19) very nice, even beautiful, pop R&B, with one of the Blackest vocal performances you're likely to ever hear from a white man. The engineering and mix are a little skewed with Alex's "distant" voice engineered so narrowly and mixed behind the fullness of the instrumental sounds. Another cool composition arranged so perfectly, too bad about the vocal(s). A song like this, mixed well, could've gone for a run on the R&B charts. (8.875/10)

6. "Something Out of Nothing" (5:56) a Latin-samba-like tune with flute and cool wordless skatting/vocalese from Alex (on multiple tracks?) More excellent percussion, bass, and rhythm guitar work from this tightly-knit crew topped by the flute/vocal tracks and Brian's Fender Rhodes. Such fun, joyful energy. It feels and sounds like something Michal and Ulla Urbaniak might have done around the same time. (9.125/10)

7. "Future Pilot" (7:06) slowing it down a bit, another nice funky J-R F motif steered toward the pop/R&B charts by Alex's bluesy rock vocal. The instrumental weave of this one is not nearly as tight and synchronized as the previous songs, and there is a lack of development (only one motif repeating itself over and over the entire first five minutes of the song). Still, there is a great "dirty" organ solo from Brian in the third and fourth minutes. Not quite enough to elevate the song, though. Especially with those cringy pitchy background "doo-doo" background vocals in the fifth minute. At 5:20, however, the rhythm section transitions into an awesome SANTANA-like Latin jam over which one of the two guitarists (I'm going to guess it's Alex because there is absolutely no singing/vocalizing during this passage) issues a solo (one that is, if I'm being honest, a little underwhelming--even amateurish). (13.25/15)

Total Time 38:08

While I loved the pop R&B (like this) at this time, I'm now far more interested in the albums and songs which contribute to the progress and highlights of the 70s' Jazz-Rock Fusion movement. Unfortunately, this does little in this regard--which is too bad because this band is really talented and really tight--and Alex Ligertwood is really coming into his own!

90.16 on the Fishscales = B+/4.5 stars; a very solid collection of finely-crafted and -performed Pop R&B songs that could compete with the stuff Earth, Wind & Fire, Average White Band, and Kool & The Gang were doing at this time, but this is not quite proggy or jazzy enough to earn masterpiece status.

THE METERS The Meters (1969)

Released by Josie Records in May of 1969, this was the New Orlean's funk band's debut album under this name. Produced by Allen Toussaint and Marshall Sehorn, the band recorded a bunch of brief, wordless funk improvisations as they were used to doing in their residency at the Ivanhoe nightclub. Sehorn and Toussaint had been using the band as their Sansu label's "house band," recording beneath artists like Lee Dorsey and Betty Harris. The studio recordings' nameless tunes received names in the studio, after the fact of their having been played and recorded.

Line-up / Musicians:

- Art Neville / organ
- Joseph 'Zigaboo' Modeliste / drums
- Leo Nocentelli / guitar
- George Porter Jr / bass

A1. "Cissy Strut" (3:00) a song that sold 200,000 copies in the first two weeks it came available, it was recorded and released as a single in March of 1969 when the band was still called Art Neville & The Neville Sounds. It achieved an impressive peak of number 23 on the Billboard charts (#4 on the R&B charts) and set the ball rolling for the rise (and renaming) of The Meters. (9/10)

   
A2. "Here Comes The Meter Man" (2:49) one of the catchier, stand-alone grooves on the album. (9.125/10)

A3. "Cardova" (4:30) more sampler fodder. This one could have used a little more filler (or overdubs). It improves in the second minute when Leo's guitar and Art's organ become more active, but then they move back to sparsity for the second "verse." Leo actually does a little "soloing" in the third minute--something that just becomes a repeating thread over time--for the rest of the song. (8.75/10)

A4. "Live Wire" (2:35) another of the more prominent/memorable songs on the album, it sounds like something that might've become a fully-fleshed out song for the Stax label. Nice movement and nuance from each of the four musicians--more than is expressed on a lot of the other songs--even including full-blown solos from Art and Leo as well as some real funk from George and Zigaboo. (9.125/10)

A5. "Art" (2:30) galloping drums with simple repetitious rhythm guitar riff and steady two-note bass play while Art solos with his swirling organ sound over the top. It's okay. (4.375/5)

A6. "Sophisticated Cissy" (2:50) Art Neville & The Neville Sounds' (the band's first name--the one they used in their New Orleans nightclub gigs) first single release back in October of 1969 (where it climbed to a #39 ranking on the Billboard charts, #7 on the R&B). The music was apparently remarkable for its simplicity, its tight funky groove, and the four distinctive and almost-independent directions and expressions of the four instruments. In its totality it all works--especially as they all come together for the warm "chorus" sections. I find this one more interesting than repeatable. (8.875/10)

B1. "Ease Back" (2:55) the third single release from the band and first from the newly-renamed "The Meters" and their eponymously-titled debut album. It reached #61 on the Billboard charts, #20 R&B. This song is distinguished by Leo Nocentelli's melodic guitar play: as if he is supplanting the voice of a singer with his melody lines. The funky rhythm track produced by drummer Joseph "Zigaboo" Modeliste and bassist George Porter, Jr. almost has a Jazz swing-like foundation, and is definitely a full display of funk. (9/10)

B2. "6V6 LA" (2:20) named after a vacuum tube found in Leo's guitar amplifier--an example of the band's naming process of the before-untitled tunes. Solid rhythm track over which Leo and Art lead the listener on their private melodic journeys. (4.375/5)

B3. "Sehorns Farm" (2:25) a reference to producer and Sansu Records co-founder Marshall Sehorn's plantation farm, this one plays out like another tune that would befit one of Stax Records' stable of novelty acts' songs outputs. A great sampler or imitatible song for a game show theme song or parody of Southern Baptist generated music. (4.333/5)

B4. "Ann" (2:40) easily one of my three favorite song on the album, the guitar and bass work here (and, later, Art's organ) really show the musician's deft talents. Yet another song that feels deserving of a vocal track over the top. (9.25/10)

B5. "Stormy" (3:32) a slowed down cover of the recent hit song from The Classics IV (penned by Classics IV members Buddy Buie and James B. Cobb, the latter of The Atlanta Rhythm Section as of 1972), the band opens with Art's storm-like organ cacophony before spacing out to introduce a very laid-back, late-night version of the familiar soundtrack. Both Leo and Art (and even George) do some really nice modification and subtle fandangling of the original chords and melody lines. Having always loved every version I've ever heard of this song I must say that I'm very impressed with what the lads have done with this one. (9.333/10)

B6. "Simple Song" (2:56) another song that just uses R&B funk: fodder for something James Brown and his band would eat up and turn into a classic. (9/10)

Total Time: 43:42

Given the impromptu/extemporaneous expression of each of this session's songs, it is no wonder that the album plays like a sampler for future Hip-Hop, Trip Hop, and Acid Jazz songs.

90.04 on the Fishscales = A-/B+/4.5 stars; a great collection of funk/R&B templates but, in my opinion, it's hard to extoll this as a deserving member of the "masterpiece" status due to the unfinished/incomplete feeling that many of the songs suffer from. I understant the historical significance of this album and the band and its label but I do not consider this a Jazz-Rock Fusion masterpiece.  

FINNFOREST Finnforest (1975) 

Finnforest's self-titled debut album was officially released in September 1975 in Finland on the Love Records label.

Line-up / Musicians:
- Pekka Tegelman / acoustic & electric guitars, bass (6, 7)
- Jukka Rissanen / organ, piano, el. piano, synthesizer
- Jussi Tegelman / drums

1. "Mikä yö!" (5:27) the extended solo church organ in the beginning of this does not prepare one for the CAMEL-like onslaught of guitars and drums that join in the second minute. A very cool, very prog-centric song that I feel bears little to no commonality to anything going on in the world of Jazz-Rock Fusion. (9.25/10)

2. "Sanaton laulu" (3:51) 30-seconds of BACH-like organ arpeggi precede the joinder drums and, later, Andy Latimer-like guitar. In the third minute there is a total shift into a more guitar-centric motif but then the song comes to an end that feels almost Midlothian Again, Camel is the dominant model for this very well rendered song. (9/10)

3. "Happea" (4:39) using stop-and-go syncopation makes this high-speed song feel like it comes from the world of EMERSON, LAKE AND PALMER or TRIUMVIRAT. Guitarist Pekka Tegelman's chosen guitar sound and style here emulate those of Dutch virtuoso JAN AKKERMAN. At the halfway point things slow down for the adoption of a FOCUS-like passage in which the Thijs Van Leer-like organ leads over the solid rock drumming of Jussi Tegelman. This takes to the song's end. A very nice song that mystifies me with its two completely different motifs. (9.125/10)

  

4. "Koin siipesi" (2:52) now for something more slowed down, spacious, spacey, and PROCOL HARUM-organ like within which Pekka plays an acoustic guitar with the aplomb of JAN AKKERMAN on Focus' gorgeous "Love, Remembered" (from 1973's Focus III). The drum sounds and stylings and wah-wah-ed electric guitar at the end make it different but still very pretty. (8.875/10)

5. "Paikalliset tuulet" (4:17) and off to the races Jussi and Pekka take us. Pekka's machine gun distorted-guitar gushes are met with some trills and frills from Jukka's organ in the second minute before Pekka and Jukka start a section in which two new, over-dubbed tracks duel it out over the continued play of the previous full palette. Then there is a spacey drum solo in the third minute in which Jussi's drums are all processed through a flanger. Pretty cool! (8.875/10)

6. "Aallon vaihto" (4:54) the first song that bears any crossover resemblance to Jazz-Rock Fusion music, this one sounds like a song from one of Larry Coryell's power trios. Jussi Tegelman's drumming skills really show and shine on this one and brother Pekka is a very good bass player! (9/10)

   
7. "Kunnes" (4:34) tense, dramatic organ, bass, and drums entwine to create a motif that might sound familiar if coming from pretentious Jazz-Rock Fusion artists like The Mahavishnu Orchestra, Cervello, Area, or Fermáta (and, later--in the 21st Century--MAD CRAYON). Nice guitar, keys, and drumming. (9/10) 

8. "P.S." (1:40) obviously the capture of a nice idea that never got developed into a full-scale song. (4.375/5)

Total Time: 32:15

I can definitely see why some fans extol this album and band high-enough to name their I find no flaws with this album other than the fact that there is a lot of imitation going on. Since the trio has chosen such a high echelon of bands/artists to imitate, and since they've done such a great job "making it their own," I can give them a pass. I applaud their creativity and high standards of musicianship.

90.0 on the Fishscales = A-/4.5 stars; the music on this album is of such a high quality--so well meted out and rendered--that I want to assign a full five star rating, BUT there are still plenty of areas to grow (including band originality/identity), so I'm going to only give four.

FREDDIE HUBBARD Super Blue (1978)

I'm finally figuring out Freddie's predilection for working and re-working his favorite melody lines and constructs over and over, through many different songs, as he hones it into the "final" form that his spirit is driving him (relentlessly) toward. I liken it to American poet Walt Witman's near obsession with working and reworking his masterwork, Leaves of Grass over the course of his lifetime, culminating in six editions released between 1855 and 1992. The material for Super Blue was recorded in New York at the CBS Recording Studios over four sessions in March and April of 1978 and then released to the public by Columbia Records on June 16, 1978.

Line-up / Musicians:

- Freddie Hubbard / trumpet, flugelhorn
- Joe Henderson / tenor saxophone (A1, A2, A3, B3)
- Hubert Laws / flutes (A1, A2, B1, B2, B3)
- Kenny Barron / acoustic piano, keyboards
- Ron Carter / bass
- Jack DeJohnette / drums
- George Benson / guitar (A2)
- Dale Oehler / additional keyboards (A1)

A1. "Super Blue" (7:50) a pseudo-funky tune with some pretty nice drumming (if a bit too flamboyant) and weird bass sounds over which trumpet, tenor sax and flutes share time as lead melody makers. It's hard for me to imagine the anti-electric bass Ron Carter playing this funked up, heavily-treated bass line--which leads me to surmise that it's being generated by Dale Oehler's "other keyboards" or something Kenny Barron is playing. (According to Google's AI I am exactly correct: it's producer Dale Oehler's "additional keyboards" mirroring Ron's double bass play, note for note, on an over dubbed track.) Isn't Jack great (despite sounding as if he's bored out of his mind.) (13.25/15)

A2. "To Her Ladyship" (6:01) flutes, cymbal play, and George Benson guitar open this one before Fender Rhodes and trumpet enter. The first of Freddie's four original compositions finds the trumpeter taking the first lead, though he is backed harmonically by Joe Henderson's tenor sax, and then Joe and then (a surprisingly bare-toned) George in the fourth and fifth minutes. Nice tune with more of Freddie's familiar melody lines being worked through over the course of the song. (8.75/10)

A3. "Take It To The Ozone" (7:01) The instrumental palette here sounds pretty standard hard bop Jazz with piano, double bass, drums, tenor sax, and trumpet (no flute, guitar, or additional keyboards). It's a nice 1970s Hard Bop tune with some very demanding whole-band riffing and fast-paced legato lines. The soloists start out with Kenny Barron's piano, moving to Freddie's flugelhorn, then Joe Henderson's tenor sax while Ron and Jack hold down the rhythm track with admirable composure--Jack even given a solo in the sixth and seventh minutes. A truly impressive display of precision Jazz and camaraderie. (14/15)

B1. "The Gospel Truth" (4:59) somehow Kenny Barron is playing both barrel-hall piano and church organ from the opening moments of this while Freddie plays flugelhorn, Ron and Jack hold down the beat, and Hubert Laws and possibly Dale Oehler or Jack De Johnette add the flute and tambourine, respectively. Not my favorite--either in terms of performance, design, or feel. (8.667/10)

B2. "The Surest Things Can Change" (6:20) an incredibly comforting and beautiful song that was originally composed by Jazz-Pop artist Gino Vannelli. Kenny Barron's dreamy Fender Rhodes and Hubert Laws' equally fluttery flute help provide the fluffy bed for Ron and Jack to drive while Freddie does his own Johnathan Livingston Seagull soaring above and within the clouds. Hubert gets a turn to add his own to the fourth minute before Freddie jumps back in with a more sharp and dynamic horn (probably his flugelhorn). (There is no Joe Henderson present on this one.) Definitely a song worth revisiting many times. So pacifying. (9.3333/10)

B3. "Theme For Kareem" (6:07) another hard core 1970s-slanted Hard Bop tune to celebrate the geniius of NBA basketball star Kareem Abdul-Jabbar. Solos move from Joe Henderson's tenor sax to Freddie's crisp trumpet to Kenny's dynamic piano to Ron's funky double bass back to the whole-band recitation of the main theme. (9/10)

Total time 38:18

90.0 on the Fishscales = A-/4.5 stars; as a representative of the new-found Renaissance of Classic Acoustic Jazz this is as dynamic of a masterpiece as Herbie Hancock's V.S.O.P. stuff; as a representative of peak era Jazz-Rock Fusion it has some excellent elements and passages but overall it's not a great go-to album.  

TOSHIYUKI MIYAMA AND HIS NEW HERD (MASAHIKO SATO) Yamataifu (1972)

This is an artist/composer (and his arranger) who no doubt was extremely inspired by America's Free Jazz, Post Bop, and more-recent Jazz-Rock fusion experimentation. My feeling is that, as a modern big band leader and world music enthusiast, he would have gotten on famously with American band leader DON ELLIS.  

Line-up / Musicians:
- Masahiko Sato / arrangement, electric piano
- Toshiyuki Miyama / conductor
- Masao Kunisada / bass
- Masaru Hiromi / drums
- Kozaburo Yamamoto / guitar
- Yoshinobu Imashiro / piano
- Kazumi Oguro, Shinji Nakayama / alto saxophone
- Miki Matsui / baritone saxophone
- Kiyoshi Saito, Shoji Maeda / tenor saxophone
- Masamichi Uetaka, Seiichi Tokura, Takeshi Aoki, Teruhiko Kataoka / trombone
- Bunji Murata, Kenichi Sano, Koji Hadori, Kunio Fujisaki / trumpet

A. "Ichi" (19:21) Is this really jazz-rock fusion? Despite its definite inspiration from both John Coltrane, Ornette Coleman, and Pharoah Sanders, it also expresses a debt to Tony Williams, Don Ellis, and Miles Davis. It's definitely avant garde--like 1960s big band avant garde--and, I believe, highly scripted. There's even a similarity here to the earliest music published by Magma. The longer it plays, the more I find myself liking it! The odd electronic sounds remind me very much of some of the weird sounds coming out of Teo Macero's treatment of Miles Davis' band's Bitches Brew songs as well as Herbie Hancock's upcoming work with his Headhunters and beyond while it also traipses into the realm of soundtrack electronica.

     Part 2 of the jam sees a turn toward a quieter, more sparsely populated instrumental palette while the individual and banked horns take turns blasting their two cents worth, again sounding more Big Band-like (even more DON ELLIS-like) as the instruments reconstitute and rebuild their momentum. Fascintating, interesting, entertaining, (36.75/40)

B1. "Ni" (12:17) weird sound and harmonic experiments in discordant, sound-fx-type chiller music that, while employing the latest in electronic instrumental sound that were commonly being incorporated into the jazz-rock infusionists, is not as Jazz-Rock oriented as it is avant garde classical--though there is a lot in common here, for me, with the awful stuff coming from Miles Davis' Bitches Brew. It also reminds me of the chaotic cacophonous music used in the pre-cognition chimpanzee scenes in the 2001: A Space Odyssey soundtrack. The drumming, when there is any (after the 6:50 mark), sometimes outright sucks, at other times comes across as absolutely brilliant. This is a very impressive "song"--especially for the development and evolution of avant-garde jazz. It is certainly entertaining, but not exactly what I'd call enjoyable music--and certainly not the type of music you would use for a dance party. (21.5/25)

B2. "San" (4:53) opens up with some fast moving lounge jazz of a very serious nature. But then the big band horns enter and make it obvious that this music could hardly be played in a dark, smokey jazz lounge--at least not the ones made de rigeur since the secretive Underworld mentality of the Beatnik and BeBop eras had formed around this kind of music. Then, the crazy, polyphonic and polymetric practices of Toshiyuki's music takes over. Again: impressive if not very cozy or heart-warming. (9.25/10)

Total Time 36:31

Not the kind of music I was expecting from a 1972 "Jazz-Rock Fusion" release: this is more akin to the work that French-Belgian bands UNIVERS ZERO and PRÉSENT would be doing at the end of the decade.

P.S. The version I found of this album has the black and red cover and is titled "Yamataifu" with MASAHIKO SATO listed as one of Toshiyuki's collaborators--the arranger and electric pianist.

90.0 on the Fishscales = A-/4.5 stars; an excellent, possibly masterpiece-level recording of avant garde Jazz-Rock that would most highly recommended to those prog lovers who are into highly technical yet experimental avant garde music.

THE BLUE EFFECT with THE JAZZ Q PRAHA Coniunctio (1970)

Combining Free Jazz with Blues Rock is quite the novel experiment--or, at least it was back in 1970. The result of Prague's two greatest bands jamming together for an entire album is even more surprising than one might have predicted. 

Line-up / Musicians:
- Radim Hladík / guitar, sound Fx
- Jiří Kozel / bass (1, 2, 4), bells
- Vlado Čech / drums (1, 2, 4)
With The Jazz Q Prague (1, 3, 4):
- Martin Kratochvil / piano, organ, trumpet
- Jiří Stivín / flute (solo track 2), Hawaiian flute, piccolo, alto saxophone, wood blocks, sound Fx
- Jiří Pellant / double bass
- Milan Vitoch / drums, harness bells

1. "Coniunctio I" (19:15) what starts out as a very loosely-organized (organized?!) blues-rock jam session takes a very surprising turn around the eight-minute mark when everybody clears out to give Jiří Stivín's flute the spotlight. From there the band(s) behind seem to rally in a kind of jazzy Classical music form--which I like much better than the bluesy rock jam. This is where you can really tell how talented these musicians are cuz you can really hear each and every one's contributions (due in large part to the fantastic sound engineering). When Martin Kratochivil's piano takes over the lead after a fairly quiet eleventh minute (which contains some awesome drum and bass/double bass work from Vlado Čech, Milan Vitoch,  Jiří Kozel, and Jiří Pellant, respectively) the windows of observability continue. Sadly this is where Jiří Stivín is relegated to hand percussion only and guitarist extraordinaire Radim Hladík reduced to the occasional note or harmonic. It's not until the 14-minute mark that Radim and Stivín rejoin and the bass and drummers return to a rock orientation. In the 16th minute it is revealed that the album has overdubbing as a second electric guitar track is added, but then the musicians almost all return to some of the more free-jazz perspectives that the suite opened with, taking us to the end. I like the free-jazz sections okay, love the more Classically-structured jazz of the middle, but am not so keen on the passages dominated by blues-rock conformity. (36.5/40)  

2. "Návstěva U Tety Markéty, Vypití Sálku čaje / A Visit to Aunty Margaret for a Cup of Tea" (6:00) Modry Efekt vascillating between LED ZEPPELIN and NEKTAR, THE WHO and THE ROLLING STONES, there are a lot of interesting (and intricately-performed) sections within this song--each showing some exquisite and virtuosic musicianship as well as some great vision for blending and melding differing styles of Rock 'n' Roll, on the heavier side. (9/10)

3. "Asi Půjdem Se Psem Ven / Perhaps We'll Probably Take the Dog Out" (7:15) Jazz Q returns from their break to set up a loosely-structured forum for some free jazz (which sounds as if only Jazz Q are the participants). Everybody is going crazy, especially the multiple percussionists and alto sax, but none more so than Martin Kratochvil on the piano. I can tell that everybody is working hard, and everybody is on the same page, but free jazz has never been my jam. (13.25/15)

4. "Coniunctio II" (7:15) a return to Modry Efekt's blues-rock foundations to start up and carry this exploration of what it might have been like if Jimi Hendrix and Jeremy Steig had ever jammed together (and maybe then did). Though I love Jiří Stivín's flute and sax play as well as Radim Hladík's guitar, they're more conventional in their playing while Martin's organ and Jiří Pellant's bowed double bass intrigue me the most. The musicianship might be great, the music is nothing to make me want to push repeat (or to ever return to). (13.25/15)

Total Time 39:45

90.0 on the Fishscales = B+/4.5 stars; an admirable capture of an historical event that yields only fair music played at incredibly high levels of proficiency. I cannot in good conscience call this album a masterpiece despite some masterful musicianship and engineering; it's more of a novelty attraction.

SANTANA Abraxis (1970)

The follow-up record to the Latin Jazz-Rock band's chart-busting debut was released by Columbia Records on September 23, 1970. It was even more highly-received than its predecessor--by both critics and in terms of record sales: remaining to this day the band (and artist's) second-highest selling album of all-time (with 5.8 million unit sales). 

Line-up / Musicians:
- Carlos Santana / guitars, vocals
- Gregg Rolie / keyboards, vocals, arrangements
- David Brown / bass
- Michael Shrieve / drums
- Michael Carabello / congas, arrangements
- Jose 'Chepito' Areas / timbales, congas, arrangements
With:
- Alberto Gianguinto / piano (4)
- Rico Reyes / vocals (3, 9), percussion (9), arrangements

1. "Singing Winds, Crying Beasts" (4:48) chimes, autoharp, piano, cymbals, then Carlos' distinctive wailing electric guitar open this before bass and congas enter at 1:27. Then Gregg Rolie's electric piano, giving a solo that previews Richard Wright's intro to "Sheep" (a song whose host album, Animals would not be released for six and a half years). Lots of panning of cymbals and percussion instruments going on behind the electric piano. Carlos doesn't really emerge to take over, just appears a few times here and there to remind us that he's there, lurking, ready to pounce. Pretty cool song. One of my top three. (9.125/10)

2. "Black Magic Woman / Gypsy Queen" (5:17) the band's now-iconic cover of the Peter Green's song, brilliantly merged with Gabor Szabo's "Gypsy Queen," needs, I think, no introduction or play-by-play. I forget how heavily reverbed Gregg's voice is--and how straightforward (and, frankly, boring) David Brown's bass is. The really fun stuff to listen to is the work of the percussionists. My other top three song. (9.125/10)

3. "Oye Como Va" (4:17) an iconic rockified cover of Tito Puente's Afro-Cubano "Cha-cha-cha" music that received(s) plenty of air play on both AM and FM radio stations--then and to this day! The Spanish chant lyrics were for many White people, I imagine, among the first Spanish they ever learned. The music is quite danceable but actually moves along at a slightly slower-than-desirable pace for the kind of music young people were craving at the time. (9/10)

4. "Incident at Neshabur" (4:58) a Latinized Jazz-Rock vamp over/within which Gregg Rolie's piano and Carlos' iconic guitar sound express themselves with rather tame, almost radio-friendly fashions. Even when Carlos goes Clapton, and then super-emotional slow-jam (à la "Europa") it feels so listener polished, rehearsed, and -friendly that it's almost flawed. But the musicians' overall sensitvity and feeling feels quite genuine and respectable. (9/10)

5. "Se a Cabo" (2:49) a contribution accredited to Jose "Chepito" Areas, the band jams to the percussion tracks laid down by Chepito, Michael Carabello, Michael Shrieve, and David Brown. Carlos plays mostly loud heavily-distorted power chords, he and Gregg injecting a few riffs and flurries here and there, but mostly it's a show for the rhythm section. (8.875/10)

6. "Mother's Daughter "(4:25) a Gregg Rollie original blues-rocker that plays out more like something from Cream, Spirit, or Blood, Sweat & Tears. I solid rocker--and probably pretty popular at the time. (8.75/10)

7. "Samba Pa Ti" (4:46) one of Carlos' originals is a slow bluesy vehicle for his solo electric guitar, backed by congas, organ, acoustic rhythm guitar, piano, and minimal bass. Here's where Carlos shows us, once again, how much of a master melodist he is: the lines his guitar screals out sound and feel like the wailing/crying out of a highly-emotional human being. Amazing! Otherwise the basically-two-chord vamp is nothing new or extraordinary. The dude just has a gift! (And, fortunately for all of us, a gift that keeps on giving!) (8.875/10)

8. "Hope You're Feeling Better" (4:10) Gregg's second and final contribution to the album, it's organ-based and, once again, heavy blues-rock in the Cream/Clapton/Hendrix/Greg Lake/John Wetton fashion. I can see a lot of Hendrix and Cream fans getting off on this one. Carlos does a great job of attaining the guitar heights of Jimi and Eric. Actually a pretty amazing product! A top three song for me! (9.25/10)

9. "El Nicoya" (1:29) Chepito's second contribution to the album is a fine closer even if it does have a bit of the feel (due to the boring repetition of the two strummed acoustic guitar chords) of a filler piece, the percussion play on display is top notch. (4.425/5)

Total Time 36:59

89.91 on the Fishscales = B+/4.5 stars; a near-masterpiece of Latin-infused Blues Rock. I love the lead guitar work of Carlos and the two heavy Cream-like contributions of Gregg Rollie as well as the two Afro-Cubano contributions of Jose Areas; there is so much talent brimming over from this collection of musicians but they're all still in a state of development.

JACK BRUCE Things We Like (1970)

A reunion, of sorts, in effect as all participants in this studio product had played with Jack in former bands; The Graham Bond Quartet (Bruce & McLaughlin), The Graham Bond Organization (Bruce & Heckstall-Smith), and Jack's previous album, Songs for a Tailor (with Hiseman). (Hiseman and Heckstall-Smith had, of course, been playing for a couple years together in David Greenslade's Colosseum--three albums worth.)

Line-up / Musicians:
- Jack Bruce / double bass, arranger & producer
With:
- John McLaughlin / guitar (3 - 7)
- Dick Heckstall-Smith / saxophones [tenor & soprano]
- Jon Hiseman / drums

1. "Over The Cliff" (2:56) a quick riff from Dick Heckstall-Smith's tenor sax launches bassist Jack Bruce and drummer Jon Hiseman into a rapid-paced expression of fairly straightforward Hard Bop Jazz. There is little to no input from John McLaughlin's guitar but Dick, Jack, and Jon are more than up for the trio presentation. Interesting and respected but this is not really my preferred type of music. (8.875/10)

2. "Statues" (7:35) more blues-based Hard Bop Jazz from Dick, Jack, and Jon in which the trio dance around one another in tight and attentive circles, each playing their own consistent melody lines--Dick even going for the two-saxes in the mouth at the same time trick a couple times. In the fifth minute there is a cease and desist order so that Jack can bow his bass a bit, but then Jon rejoins with meagre little  input from Dick (and, interestingly, none from John McLaughlin) before Jack steps back to let Jon have the spotlight a couple of times before the recapitulation of the opening themes over the final 35 seconds. Fine musicianship. (13.5/15)

3. "Sam Enchanted Dick" - medley (7:28) bass and electric guitar recite the song's main melodies over Jon's drums for the first 30+ seconds before John is loosed with his distorted tone to solo for about a minute. Then it's Jack's turn in the third minute. John's chord accents are all I can pay attention to (for I am a HUGE fan of John's fascinating "rhythm guitar" choices). At 3:37 we hear the first squirts of Dick's, tenor sax--which leads, of course, to an extended solo for him (and yet my ears still find themselves paying attention to John's caustic chord interjections). Double saxes for a bit in the seventh minute before Dick's play on "Sweet Georgia Brown" lead to the song's finish. (13.5/15)
    a. "Sam Sack"
    b. "Rill's Thrills"

4. "Born To Be Blue" (4:26) a gorgeous ballad with very sensitive performances from all four players. There is enough space in the soundscape of this song that I can very much appreciate the skills and creativity of each individual musician--which I need from time to time in order to better understand and value the musics I'm being exposed to. (9/10)

5. "HCKHH Blues" (8:59) there is an auspicious threat of power and havoc in this song's music from its very opening. Despite Jack and John's pulling tendency to want to drift over into the Louisiana Bayous,  Dick and Jon do a great job in keeping the spirit firmly anchored in less Southern traditions, more in the urban forms of expression. Finally pusuaded, John and Jack swing over to join Dick and John in their Coltrane-like explorations. (18.125/20)

6. "Ballad For Arthur" (7:42) pensive bass notes are embellished by delicate cymbal and snare play while Dick explores his own melody ideas. There is enough focus in Dick's playing that Jack and Jon both feel empowered to let their own playing go a bit into the realms of improvisational freedom--until, that is, John feels inspired to join in (around 1:50). Thereafter John's "commanding presence" effects a stoppage from Jon (no drums or cymbal sound for over a minute!) while Dick tries to figure out how to play background accompanist role to John's spacial musings. With Jon's boisterous Jack DeJohnette-like return in the fifth minute, we find the other three suddenly inspired to become quite a bit more dynamic: each flying off in their own directions while somehow it all still manages to make sense from a collective view. With a minute left to go there is a sudden buildup and burst into  controlled chaos before everybody backs out, spent. While I still don't "like" this kind of music, I understand anad appreciate the discipline and skill required to make it happen--to make it work. (13.5/15)

7. "Things We Like" (3:38) another this time more targeted and speedy foray into the reactive/responsive side of Jazz' free jazz movement. There is a playfulness to this one that makes it a bit more amusing and, thus, enjoyable. (8.875/10)

Total Time 48:04

Despite the presence (and influence) of metamorphosizing guitarist John McLaughlin on five of the album's seven songs, the rest of the band on this album (Bruce, Hiseman, and Heckstall-Smith) are all playing Jazz, standard, blues-based Jazz albeit at times what we've come to call their own versions of "free jazz." John is the only one pushing boundaries, injecting non-standard sounds, riffs, and epithets. One might also argue that Dick Heckstall-Smith is pushing for more free jazz representation. Were I more of fan of straight Jazz (I'm trying, folks!) I might like this album more. As it stands, I feel hard-pressed to even consider this "Jazz-Rock Fusion" much less call it such.

89.87 on the Fishscales = B+/4.5 stars; while Jazz afficionadoes might consider this a minor masterpiece of Jazz (or even Jazz-Rock Fusion), would call this a near-masterpiece and not a true representative of Jazz-Rock Fusion; to my mind Things We Like has got far more of the fire and focus of pure Jazz than it does of Fusion or progressive rock.

NAT ADDERLY Calling Out Loud (1969)

Released by A&M Records and CTI Records in 1969, the music was recorded in three sessions by Rudy Van Gelder on November 19, 21 and December 4, 1968 at Rudy's studios in New Jersey.

Line-up / Musicians:
- Nat Adderley / cornet
- Ron Carter / bass

- Leo Morris / drums
- Joe Zawinul / electric piano

- Hubert Laws / flute, piccolo

With:

Bassoon – Donald MacCourt

Clarinet [Bass] – Romeo Penque
Clarinet, English Horn – George Marge
French Horn – Paul Ingraham
Saxophones: Danny Bank (tracks: A1), George Marge (tracks: A1), Jerome Richardson, Jerry Dodgion (tracks: A1), Richard Henderson (tracks: A1), Seldon Powell

A1. "Biafra" (6:32) as the album's opener this song must have some important significance to either/or Nat and Creed Taylor. The short-lived nation-state that, with Benin, extending inland from the Nigerian coast of western Africa, fought for independence from Nigeria from 1967 to 1970. The music here, however, feels a bit too laid back and, therefore, disrespectful to be pro-independence but I find it hard to imagine anybody being against freedom and statehood---especially someone(s) with African ancestry! Musically it is a nice multi-part be bop tune with nice accoutrements from the supplemental brass and percussion instruments. (8.875/10)

A2. "Haifa" (4:57) gentle flute and brass, electric piano, bass, and brushed drums support Nat's nostalgic trip back through long-held tremolo notes on his cornet. Joe's bluesy electric piano sound here sounds as much like a funky organ as an electric piano: dirty, thick, and resonant. Nice. I think I was expecting something more sympathetic like this for the album's tribute to Biafra. This is quite beautiful, quite emotion-evocative--not unlike some of Vangelis' bluesy love songs in his Blade Runner soundtrack. (9.25/10)

A3. "St. M" (3:37) Hubert and Nat trade solo flourishes before Ron, Leo, and Joe jump in with a nice cruisin' speed tune. All three in the rhythm section are really active beneath Nat's passionate cornet solo in the first two minutes. They slow, soften, and toe the line when Joe takes over in the spotlight. A great hard bop jazz tune that really displays the talents of all of the musicians participating. (9/10) 

A4. "Grey Moss" (3:43) opening with some free-form flute play before Ron, Leo, and Joe enter to give form to the song. Once the horns and cornet join in it begins to sound a lot like the smooth, easy listening elevator jazz that Bob James became known for in the 1970s. Well rendered if you like that kind of stuff. (8.875/10)

B1. "Nobody Knows" (5:53) a slow, moody, late-night journey into self-pity that feels akin to the music of Frank Sinatra when he was pining away for Ava Gardner (In the Wee Small Hours) as well as a lot of Miles Davis' work. The band speeds it up a notch as Nat and Joe take us further into it: the development feeling like a sip of cappuccino after the drinking has stopped; hope and fortitude are restored! But then everybody supports a return to late night blues for the final 45 seconds. Too bad. I really like the structure, performances, and emotions on display with this one--until the unfathomable end. (9.125/10)  

B2. "Comin' Out The Shadows" (5:09) a funky Nat original that sounds as if it were a cover of an R&B hit--but it's not! Funk exudes from Ron Carter's bass, the supporting brass and flute, and Joe Zawinul's electric piano--not so well from Leo Morris' drums. (8.875/10) 

B3. "Ivan's Holiday" (3:14) smooth Adult Contemporary jazz that sounds like the 1960s fare that Burt Bacharach and other orchestra-oriented songwriters were pumping out at the time. (8.875/10)

B4. "Calling Out Loud" (3:21) Joe Zawinul's electric piano gives this an almost-funky feel. (9/10)

Total Time 35:06

89.84 on the Fishscales = B+/4.5 stars; a near-masterpiece of envelope-pushing yet listener-satisfying jazz.

OREGON Moon and Mind

Recorded late in 1978, Moon and Mind was released on the Vanguard label in March of 1979., the album is interesting for the number of duets presented to the listener: in fact, all eight of the album's songs are totally two-person renderings! 

Line-up / Musicians:
- Ralph Towner / Classical (5, 8) & 12-string (1) guitars, piano (6, 9), Hammond (8), percussion (8)
- Paul McCandless / oboe (2, 6), bass clarinet (2, 4), flute (7)
- Glen Moore / double bass (3-5, 9), piano (2)
- Collin Walcott / tabla (1, 7), dulcimer (1), sitar (3), piano (8), congas (8), percussion (8)

1. "Person-To-Person" (3:11) opens like a Flamenco styled piece one might hear from Paco De Lucia, but then the tabla, dulcimer, 12-string guitar, (and double bass?) join in to bring us more into a musical (and imaginary) realm of World Fusion. The dulcimer-12-string guitar pairing is alone worthy of one's attention and praise. Not sure if Glen or Paul participated at all! (9/10)

2. "I Remember Me" (4:00) contemplative piano arpeggiations form the aqueous surface over which Paul McCandless' oboe flies on this surprising reinterpretation of a Jan Hammer composition. Paul soars and glides, occasionally swooping before winging his way back toward the sky while Glen continues providing his safety net and/or ground surface. Beautiful. In the final 30 seconds a bass clarinet joins in before the song fades away. (9/10)

3. "Rejoicing" (4:17) muted double bass notes and percussive hits team up with simple sitar note play and, eventually, hand claps, guitar notes and body hits. Around the halfway point Collin's sitar starts to ramp up, which is pretty cool. In my opinion the song could have used some more development and/or lateral enrichment. (8.75/10)

4. "The Elk" (6:02) bowed double bass and bass clarinet team up to recite the main melody one time through before diverging into harmonic support of one another. At the one minute mark the two separate into individuated jazzy clarinet (think George Gershwin) and jazz bass. The resulting song feels as much cinematic or impressionistic Classical music (of the Ravel or Debussy kind) as Jazz. (8.875/10)

5. "Gloria's Step" (3:16) the band's cover of a Scot LaFaro composition that was made famous while he was with Bill Evans first trio. Glen and Ralph take their turns with this one--again in duet form. (9/10)

6. "Moon And Mind" (8:20) Paul and Ralph work together with oboe and piano, respectively, to render this Paul McCandless composition unto tape (and vinyl). Ralph's piano playing style most definitely came from the same school that produced both Keith Jarrett and Lyle Mays and Paul's use of the oboe is definitely dear to my heart. The overall effect/impression left on me from this song is one of awe--for the interactive dialogue that these two musicians were able to accomplish using the voices of such disparate instruments. Extraordinary. (18.125/20)

7. "Dust Devil" (3:03) Collin and Paul playing something that feels more Irish than Indian despite Collin's use of tabla. I think it's the style with which Paul attacks the music with his (Native American) flute (ceramic?). Collin's play is nice but I've been so spoiled by a life of Zakir Hussein. Paul's flute is nice, too, but when you've heard Irish penny whistlers and N. Carlos Nakai, what's the point? (8.75/10)

8. "Elevator" (3:53) I really like the peppy feel of this Ralph and Collin duet: great minimalist piano-congas unity with organ and percussion and, later, classical guitar overplay. My cup of tea! Really cool! (9.333/10)

9. "Dunvegan" (4:23) Glen and Ralph working together to render this modal jazz Ralph Towner composition into Pat Metheny Group territory. I believe Glen has tracks of bowed bass as well as plucked note play while Ralph sticks with a piano. Another song that feels more cinematic and/or Classical than jazz, folk, or fusion. Whatever it is, it's beautiful. (9/10)

Total time 40:25

I would call this less Jazz-Rock Fusion as World Fusion or Folk Jazz.

89.8333 on the Fishscales = B+/4.5 stars; a minor masterpiece of World Fusion. 

GINO VANNELLI Storm at Sunup (1975)

The Canadian brother-brother team of singer-songwriter Gino Vannelli and keyboard wizard Joe Vannelli let loose with their third studio album, this one broaching the popular and expression-expanding domain of Jazz-Rock Fusion and continuing their unusual and unorthodox championing of the use of keyboards alone in providing their songs' bass lines and horn sounds as they did on 1974's Powerful People (grâce à keyboard maestro, Richard Baker). Storm at Sunup was released by A&M Records in either June or July of 1975.

Lineup / Musicians:

- Gino Vannelli / vocals, composer

- Joe Vannelli / electric piano, piano, synthesizers, engineer

- Graham Lear / drums

- Sergio Pastora / congas, bongos

- Richard Baker / organ, organ bass, synthesizer, synth horn arranger

- John L. Mandel / percussion

With:

- Jay Graydon / electric guitar

- Don Bailey / harmonica

- Jerome Richardson / saxophones [tenor & soprano] 

A1A. "Storm At Sunup" (6:37) one of the best jazz-rock fusion jam songs by non-jazz fusion artist ever made--and then it runs into the wonderfully seductive radio hit song "Love Me Now." Genius! (10/10)

A1B. "Love Me Now" (3:44) One of my favorite Gino Vannelli love songs, it has everything plus the unusual and effusive sexuality spilling over like a volcano. (9.5/10)

A3. "Mama Coco" (3:06) a very cool and unusual Latin funk love song--like something that should be coming out of Motown or Stax. (8.75/10)

A4. "Father And Son" (3:13) a bare-bones love-and-gratitude song. Not as jazzy, more classic crooning. (8.4/10)

B1. "Where Am I Going" (7:47) The song's weakness are the bare areas in which Joe's electric piano exists tout seul as well as its melody choices. It sounds like it's trying to do a reprise of the album's immaculate opener. The Vegas-like smoothed-out final two minutes of Latin grooving is the song's highpoint. (13.125/15)

B2. "Keep On Walking" (3:49) opening with Don Bailey's plaintive harmonica is a nice touch. The heart-wrenching Soul song that follows is simple yet made quite powerful by Gino's extraordinary vocal performance. (8.75/10)

B3. "Love Is A Night" (3:51) a little more funky R&B presented in which to try to ground Gino's ethereal vocal. The song's only failing is how similar it sounds to Side One's hit, "Love Me Now." (8.875/10)

B4. "Gettin' High" (3:25) talking drum and bass line open this one before Joe's Fender Rhodes and Gino's sexy story-telling voice join in to present another extraordinarily smooth and unique vocal performance. Jerome Richardson's saxophone in between Gino's verses is a nice touch, as is the infusion of Latin percussion early in the third minute. (8.875/10)

Total time: 35:31

Already clearly bridging the waters of pop music and jazz fusion since their debut Storm at Sunup definitely tests the J-R Fusion waters more than ever before--especially with the album-opening suite of "Storm at Sunup" and "Love Me Now." In my opinion the Joe and Gino team presents music history with one of the most advanced fusion arranger-composers in history--and it's not just Gino's unusually jazzy vocals but the amazingly full and sophisticated Latin-jazz and funk arrangements they give each and every song they produce. The percussion team of drummer Graham Lear, conga/bongo player Sergio Pastora, and general percussionist John L. Mandel are extraordinary in the way they're given so much freedom and light in which to shine. 

89.74 on the Fishscales = B+/4.5 stars; a near-masterpiece of jazz-infused, electronically-drenched, and percussion-rich songs over which exist the masterful vocal performances of one of music's all-time great voices. 

LARRY CARLTON Singing / Playing (1973)

Released on the Blue Thumb label in April of 1973. Larry had been gigging since 1962 (when he was 14-years old), honing his skills and preferred guitar voicings throughout the 1960s, and had been playing steadily with The Crusaders and Tom Scott (as part of the L.A. Express) while branching out from studio session work for pop and Soul artists in L.A. studios. The boys at Blue Thumb (a label started in 1968 by Don Van Vliet ("Captain Beefheart") and Bob Krasnow to try to emulate Frank Zappa's "out-of-left-field" album production) had been housing the newly-reformed and renamed Crusaders (formerly "The Jazz Crusaders") and decided to offer their new and unique guitarist wunderkind (he was 25) the chance to make an album of his own music, his own compositions.    

Line-up / Musicians:
- Larry Carlton / guitars, bass (A1), vocals (A1, A2, A3, B1, B2, B4), vibraphone (B4), percussion (B4), bass (A1)

With:

- Michael Omartian / piano (A2, A3, B1, B2, B3), electric piano (A1), organ (A2), synthesizer (B3), 

- Michael Mills / percussion (A1)

- Joe Osborn / bass (A2, A3, B2)

- Jim Gordon / drums (A2, B1, B3)

- Ron Tutt / drums (A3, B2)

- Alan Estes / percussion (A3, A4, B2), 

- Julia Tillman / background vocals (A3)

- Maxine Willard / background vocals (A3)

- Oma Drake / background vocals (A3)

- Wilton Felder / bass (A4, B4)

- "Stix" Hooper / drums A4, B4)

- Joe Sample / electric piano (A4, B4)

- Max Bennett / bass (B1)

- John Guerin / drums (B1)

- Reinie Press / bass (B3)

- Chris Neilson / background vocals (B3)

A1. "Easy Evil" (4:57) a sexier, more intentionally-seductive, slowed down version of the Classics IV (and, soon, Atlanta Rhythm Section)'s massive hit, "Spooky." Every element of this song is so well conceived, so well planned, and, as is the lesson he passed on to so many collaborators in the privacy of studio sessions (like Walter Becker and Donald Fagen), so independent of anything and everything else. I really like Larry's voice, his attention to detail in his craft, I just don't really like the Southern/Americana palette and style he tends toward. (Larry is a life-long Southern California boy.) Impressive production skills are wasted on me due to my aversion to that good ole white boy sound and feel. (8.875/10)

A2. "I Cry Mercy" (3:15) the music of The Beatles, The Beach Boys, and Harry Nilsson come shouting through from this song, top to bottom--and I really like Harry Nilsson! (Not so much the others.) (8.75/10)

A3. "One More Chance" (3:13) Southern white boy blues. Makes me wonder if Larry had any racist or redneck tendencies. (I doubt it.) He does a pretty good job of showing his Soul/R&B background and training even if it does sound more like an Englishman's attempt at doing Deep Southern Fried Gospel-informed Blues. There is no argument that he is an incredibly nuanced, skilled guitarist and that he very much liked being in control of his sound and product. (8.875/10)

A4. "With Respect to Coltrane" (5:53) Larry's favorite Coltrane album as a kid (and to this day) was Ballads. It shows in this song with his simple and respectful adherence to melody lines here but his use of multiple sounds, tones, effects, and stylings also seems to be showing John how much he knew he could do with his guitar and the eclectic skill- and sound-sets he'd accumulated. Quite a cool song that Larry uses to give voice to some uniquely original deliveries of melody. Genius! (9.333/10)

B1. "American Family" (4:03) I hear a bit of Stephen Bishop, Michael Franks, England Dan & John Ford Coley, and even early Billy Joel in this pretty song. Could've been a theme song for some family-oriented television show--perhaps even a minor radio hit song. (8.875/10)

B2. "Wavin' and Smilin'" (3:01) a gospel-informed white man's Soul song like something from the band America, early Hall & Oates, Bread/David Gates, or Seals & Crofts. A great song with some great melodies and hooks, just not the best lyrics for the teeny-boppers--more befitting a corny television show. (9.333/10)

B3. "Captain, Captain" (3:28) a piano-based tune that sounds a lot like Eric Carmen, Elton John, or Barry Manilow. Larry really does have a nice voice--as well as a talent for song-writing. Just not for hit lyrics. (8.75/10)

B4. "Free Way" (6:15) a simple blues-jazzy exploration of delivering melody through guitar chords (a thing that Larry not only excels at but prides himself on). The total motif and dynamics switch at 2:30 caught me completely by surprise as Larry had totally tricked (lulled) me into listener complacency, but then he goes Neil Young/Stephen Stills with some (for the time) heavy Hendrix/Alvin Lee-like shit! And then he has the audacity to go back to the docile Michael Franks fare that he started us off on! What balls! Mega kudos, Larry! (9/10)

Total time: 34:06

I love that Larry saw himself as something much bigger than a studio hired gun, an in-demand sessions guitarist. He actually does have a very nice voice. His compositions are quite good, if sometimes a bit derivative or laterally-comparable to his contemporaries.

89.74 on the Fishscales = B+/4.5 stars; a really interesting and very unexpected challenge to a listener's orientations, sensibilities, and comfort zones--one that I can only stand back in awe of as a near-masterpiece of very finely-crafted . . . unique and unusual music. Highly recommended--if only for the "Wow!" factor. 

APPALOOSA Appaloosa (1969)

A project that Al Kooper supported and saw to publication after he left Blood Sweat & Tears: songs that "fell out of the head of" 19-year old guitarist and singer-songwriter, John Parker Compton and his three Boston-based collaborators/friends. It was the first time in a New York City recording studio (Columbia) for all four of the young musicians. One amplifier. One violin and one cello with no overdubs. No original percussion instrument, just a 17-year old bass player. 

Line-up / Musicians:
- John Parker Compton / acoustic guitar, vocals, composer
- Robin Batteau / violin, vocals, string arrangements
- Eugene Rosov / cello, string arrangements
- David Reiser / electric bass
With:
- Al Kooper / guitar (3, 6, 11), electric harpsichord (2), organ (4), vibes (5, 6), piano (8, 11), e-piano (10), string arrangements (11), temple blocks (6), producer
- Tony Ackerman / guitar (5)
- Fred Lipsius / alto saxophone (2, 10)
- Romeo Penque / oboe (4)
- Charlie Calello / orchestral arranger & conductor (4, 9)
- Bobby Colomby / drums (2, 6, 10, 11), percussion (5)
- Artie Schreck / drums (3, 8)
- Jimmy Alcamo / drums (4)

1. "Tulu Rogers" (3:57) a folk song that feels quite like an early DONOVAN song when it's just John Parker and his guitar. Once his strings companions join in there is the feeling as if an entire section of orchestra strings has joined in--and yet there is also a strong charge of Rock 'n' Roll energy being channeled by the simple music as well. This is a song that I feel could/would've been quite popular with the lyrics-driven public. (9/10)

2. "Thoughts For Polly" (5:48) gentle acoustic guitar folk music which is enhanced from the start by alto saxophone, electrified harpsichord, and Country-Western drumming. A very powerful, haunting, and poetic song that is greatly augmented by the contributions of the strings and "weird" (the recorded tape being played backwards) saxophone notes. Though this is by far the album's longest song, it exudes such a comforting vibe that it feels just right--a welcome balm from start to finish. A top three song for me. (9.125/10)

3. "Feathers" (2:27) two arpeggiated guitar chords set the stage for the joinder of John Parker's chamber strings companions (as well as Al Kooper's guitar and Artie Schreck's sensitive drums). The vocal performance, style, and lyrics give the song a feel of something between the gentle side of Mick Jagger (think "As Tears Go By") and Jim Croce. (9/10)

4. "Bi-Weekly" (3:33) opening with a little of the Baroque pep of a Burt Bacharach or Jimmy Webb tune, oboe, organ, drums, and full orchestra support continue to launch this wonderful vocal into the realm of those two master composers. Awesome chord shift into the wonderful chorus. Another top three song. (9.125/10)

5. "Glossolalia" (4:06) open sea sounds like seagulls and waves open this one before John Parker and his string quartet join in with Bobby Colomby's percussion, Al Kooper's Vibraphone play, and Tony Ackerman's additional guitar to create the gentle folk music to back John Parker's near-talking Van Morrison-like vocal performance. I don't particularly like this vocal styling but I love the mood set up by the beautiful music. (9/10) 

6. "Rivers Run To The Sea" (3:30) uptempo folk-rock music that sets up a Gordon Lightfoot/Jim Croce/AL STEWART-like vocal performance. After 90 seconds in one motif, the music slows down and becomes much more intentional for its chorus, but then the horse hooves and violin pick back up to return to the verse motif. So like Al Stewart! An awesome composition rendered beautifully. (9.125/10)

7. "Pascal's Paradox" (3:21) a song that Al allowed to remain untouched the way John Parker and his quartet had originally arranged it. Sounds a lot like Jim Croce's "I Got a Name." Were I into lyrics this song might have earned higher marks from me; as it is it's a nice little Baroque Chamber Pop Folk tune.(8.75/10)

8. "Yesterday's Roads" (3:19) opening with the two strings players before guitar, bass, drums, and "toy" piano (upper register) join in with John Parker's Dylan-like vocal. The music plays out like something from a jazzier yet-melancholic realm--like something by Phoebe Snow, Gordon Lightfoot or Roddy Frame (Aztec Camera)--or, from the modern day, Alisdair MacLean (The Clientele) or the late Nick Talbot (Gravenhurst) and so many other "sensitive" singer-songwriters. (8.875/10)

9. "Now That I Want You" (2:32) the most animated song on the album is ramped up to Brit Rock standards by the contribution of Charlie Calello's full orchestra. (8.667/10)

10. "Georgia Street" (4:44) a song that is enhanced by guest appearances from Al on electric piano, Blood, Sweat & Tears drummer, Bobby Colomby, and, later in the song, Fred Lipsius' saxophone, this Chamber Folk song achieves the amazing feat of replicating with uncanny accuracy a Moody Blues-like Mellotron with just two strings players! Very cool final minute. (9.125/10)

11. "Rosalie" (4:28) reminds me of a cross between Jim Croce, early Elton John, and The Rolling Stones. (8.875/10)

Total time 41:45

Al's reverence for artists like Bob Dylan, The Band, The Allman Brothers, and The Rolling Stones really shines through with the production and enhancements he added to John Parker's original tracks. 

89.70 on the Fishscales = B+/4.5 stars; a near-masterpiece of wonderfully-precocious Baroque Chamber Pop Folk gently and masterfully nurtured and produced by Columbia Records via up-and-coming musical catalyst Al Kooper.

OREGON Winter Light (1974)

The fourth album recorded by supergroup, Oregon. Though by no means a representative of mainstream Jazz-Rock Fusion, the band has certainly been exploring an avenue of fusion that is sparsely populated and definitely comes out of the traditions of classically-trained jazz musicians. Winter Light was recorded in Beverly Hills at Vanguard Studios on July 18-21, and August 6 & 7 of 1974 and then released around November 29, 1974.

Line-up / Musicians:
- Ralph Towner / Classical & 12-string guitars, piano, French horn, clay drums
- Paul McCandless / oboe, English horn, bass clarinet
- Glen Moore / double bass, bass, violin, flute, piano (4)
- Collin Walcott / tabla, sitar, pakhawaj, percussion, congas, dulcimer, clarinet

1. "Tide Pool" (8:34) guitar strums with oboe and scratchy percussion noises occurring in the surrounding space before Collin Walcott's tabla and Ralph Towner's 12-string guitar plays among Glen Moore's double bass on this lovely Ralph Towner weave. (17.875/20)

2. "Witchi-Tai-To" (3:26) piano solo from Ralph Towner for this cover of a song written by Native American saxophonist Jim Pepper while being accompanied by Collin's aggressively-strummed dulcimer (sounding like an unplugged electric guitar). (8.75/10)

3. "Ghost Beads" (6:38) another composition from Ralph Towner starts out quite jazzy, quite pensive, with Ralph's solo guitar play, but then Collin and Glen join with tabla and double bass just before Paul takes the lead with his cor anglais (which doesn't. quite fit, in my opinion). Ralph's virtuosic guitar solo is next while Glen does a great job of playing off of Ralph. There is a little Spanish and French Impressionist feel to Ralph's inspiration. Glen gets a solo next while Ralph accompanies with John McLaughlin-like flurries and flourishes and Collin continues his personalized tabla support. This is sounding like Shakti! The virtuosity--especially from Ralph--is off the charts! (9.125/10)

4. "Deer Path" (2:47) a Glen Moore composition that hovers in the space between avant garde and impressionistic free jazz. At times I find myself wondering if the dudes were even in the same time zones much less the same room with one another. A complete song that makes one wonder if they ever really got started. (8.5/10)

5. "Fond Libré" (5:04) This Paul McCandless song starts out as a duet between Ralph Towner's weirdly-tuned guitar, pick-and-strumming really odd chords, and Paul's cor anglais. At the two-minute mark a pause occurs after which Ralph and Glen's double bass (later bowed) settle into a fairly gentle if minor-key dominant cushion-like bed for Paul to continue his odd, foreign melody play. Eventually, Glen teams up with Collin's sitar (and clarinet) to present a counter melody on the lower end. Really cool tapestry never ever hitting a familiar Western melody or chord. Fascinating! (9.125/10)

6. "Street Dance" (2:08) Collin sets up a rhythm track with an Indian pakhawaj while the others join in with a very odd, almost ascerbic mix of instruments--including bowed bass and violin, bass clarinet, clay drums, and French horn. Okay. I guess it was a jam to see if it was possible to combine those odd instrumental pairings. Kind of like a Yo-Yo Ma Silk Road song. Now we've done that. (4.333/5)

7. "Rainmaker" (4:27) Another Ralph Towner song on which the composer settles into a jazz piano piece while Paul, Glen, and Collin work around him with some nice double bass, oboe, Western tabla and congas. Nice song, Ralph. Pretty in a jazz-sophisticated way. (8.875/10) 

8. "Poesía" (5:25) odd guitar (dobro?) is picked as if hesitantly, experimentally, while cor anglais runs, odd bass notes, and tabla flit in and out of the mix as nervously/hesitantly and/or experimentally as the guitar. In the third minute it feels as if the quartet might gel, but they kind of remain each in their own universes. Collin sits out fourth minute before returning with a scratch surface in the fifth while Glen, Ralph and Paul continue their morning wakeup routines. I guess I'm too uneducated to get it. (Personally, I cannot imagine how the quartet would/could ever replicate this in a live performance--granted, being in the Jazz idiom, they would never have to due to the license that improvisation gives them and they could still call whatever came out of them the same title.) (8.6667/10)

9. "Margueritte" (4:05) Collin's lone compositional contribution to the album definitely has a solid foundation in his fast-paced percussion track. Ralph's 12-string, Glen's electric bass, and Paul's cor anglais all join in for long spurts of cohesive music. (Thank you, Ralph and Glen for forming a continuous, flowing motif--and Paul for using the occasional Western-familiar notes and melody lines.) This is definitely the song that makes me feel the most comfortable--the most "included"-- on the album. Thank you! (8.875/10)

Total time 42:31

By no means a common avenue for Jazz, Classical, and Folk artists to take in their exploration and interpretation of Jazz-Rock Fusion, it is difficult to ignore or discount the efforts of this band of virtuosi since the musicianship is so good. It's just that the melodic sensibilities herein, like mainstream Jazz,  often lay outside the comfort zone of the rock and pop audiences that radio stations favored. 

     My rating here is not at all reflective of the quality of the compositions or virtuosity of he musicians or the indication of serious dedication to expanding horizons that these musicians are shining the light for: it's about how much this or they are contributing to the idiomatic direction that Jazz-Rock Fusion is travelling: are they effecting any change? Other than the upcoming birth of both Shakti and CoDoNa, no! There are really no other jazz musicians that are exploring an East-Meets-West meeting ground of musical traditions with any sweeping enthusiasm (outside of perhaps Germany where the infatuation is being expressed through their Kosmische Musik scene). Therefore, I find it difficult to include this uber-talented and highly-creative band in the Jazz-Rock Fusion mainstream when they really aren't a part of the J-R F mainstream. It's not that I don't like this music--I do! I'm just trying to really compile a compendium of true contributors to the legacy that is still called "Jazz-Rock Fusion."

89.61 on the Fishscales = B+/4.5 stars; a near-masterpiece of cerebral Western Modern Classical chromatic music being attempted on folk, Classical, jazz, and Indian instruments--all at the same time. Though this music may be head-and-shoulders above most un-classically-trained Westerners, the bravery and virtuosity on display in it are undeniable.  

KOOL & THE GANG Wild and Peaceful (1973)

Recorded at Mediasound recording studios in Manhattan's former Manhattan Baptist Church on West 57th Street in April and May of 1973 the album Wild and Peaceful was released by De-Lite Records ‎in September.

Line-up / Musicians:

– Robert "Kool" Bell: bass ,vocals
– "Funky" George Brown: drums, percussions, vocals
– Ricky West: piano, vocals
– Clay Smith: guitar
– Dennis "Dee Tee" Thomas: saxophone alto, flute, congas, vocals
– Ronald Bell: saxophone (tenor & soprano),vocals
– Robert "Spike" Mickens: trumpet, vocals

A1. "Funky Stuff" (2:59) the funky/R&B SLY AND THE FAMILY STONE-inspired anthem that the band smoothed out in 1981 to create "Celebrate" (9/10)

A2. "More Funky Stuff" (2:52) this song is like a variation--a rowdy version--of the previous song, only it is also the owner of the longest continually-strummed single guitar chord in history. (9/10)

A3. "Jungle Boogie" (3:08) one of the album's two AM radio hits in 1973. The lead singer was obviously influenced by, even parodying JIMMY CASTOR BUNCH's hit of the previous Spring and Summer, "Troglodyte (Cave Man)". Quite memorable though of questionable PC ness in today's woke world. (8.875/10)

A4. "Heaven At Once" (5:00) a musically-backed "public service announcement" styled a bit after Chicago's BRIGHTER SIDE OF DARKNESS' big hit, "Love Jones," about how to bring peace to Earth presented in the form of a conversation between two of the young band members. Nice smooth jazz in the music with some cool muted trumpet play and whole-band bridges after the vocal section finishes. Remember when artists thought that music could change people's minds? (8.75/10)

A5. "Hollywood Swinging" (4:35) the album's other AM hit single: a song that is quite imitative of SLY & THE FAMILY STONE's "Dance to the Music" form and style (one might even say "cloned"). I've always loved the nasally-voiced background voices weaving together while singing "Hollywood" and "swinging" in the background between 2:45 and the fadeout finish. (8.875/10)

B1. "This Is You, This Is Me" (5:23) more horn-dominated R&B song that reminds me of a cross between BILLY PRESTON's "Will It Go Round in Circles" and WAR's "Why Can't We Be Friends". Not a hit, but a pretty good, pretty well developed song--with some nice, mature jazzy elements. (8.875/10)

B2. "Life Is What You Make It" (3:54) a Sly & The Family Stone-like R&B tune that is interesting for its funky weave of unusual guitar and synthesizer sounds. I really like this! (9/10)

B3. "Wild And Peaceful" (9:30) a nice late night comfort instrumental, it slowly emerges from the peaceful jungle of bass, drums, and percussion through beautifully-arranged horn section and is embellished by swallow-like flute flights and pacifying electric piano play as well as a trumpet solo in the first half, soothing flute solo in the middle followed by soprano sax and electric guitar. This feels like a true Jazz-oriented Smooth Jazz tune--and a pretty fine one at that. (18.25/20)

Total Time: 37:43

Though never what I would consider true Jazz-Rock Fusion, there is a lot of jazz-like instrumental skill and influence in the musicianship and, of course, funky and R&B sound and song construction.

89.58 on the Fishscales = B+/four stars; an album of excellent song constructions and performances that just doesn't quite constitute a mainstream, centrist example of Jazz-Rock Fusion. 

IF If 3  (1971)

Same lineup as the band's two 1970 releases. If 3 was recorded at Island Studios in the Spring of 1971 and then released by United Artists Records in the UK and Europe and Capitol Records in the US and Japan in August and September.

Line-up / Musicians:
- Jim Richardson / bass
- Dennis Elliot / drums 

- Terry Smith / guitars

- John Mealing / organ, piano, electric piano, backing vocals, arrangements

- Dave Quincy / saxophones [alto & tenor], flute, backing vocals, arrangements
- Dick Morrissey / saxophones [alto & tenor], flute, backing vocals, arrangements

- John Hodkinson / vocals, percussion

1. "Fibonacci's Number" (7:48) a Jazz-Rock instrumental that finds the band returning to the dynamic Jazz-Rock forms and styles that they had unleashed upon the world with their debut album (but had veered away from with their more poppy sophomore effort) only with much more sophistication, band tightness and maturity. Though this song sounds a bit like  it expresses far more originality than (13.75/15)

2. "Forgotten Roads" (4:26) a return to the vocal stylings they had concentrated more on during their putting together of their second album, the music of this song retains all of the power, dynamics, energy, and high spirits of the best Jazz-Rock stuff. Guitarist Terry Smith continues to evolve with his skills and proclivity for speedy, technically-impressive solos. (8.875/10)

3. "Sweet January" (5:03) a slower ballad that sounds very much like something PROCOL HARUM could/would have done. Nice doubling up from John Mealing on the organ and piano while Dave Quincy and Dick Morrissey both take turns on both saxes and flutes. Nicely crafted pop- and stage-friendly song--one that represents the band's own production choices. (9/10)

4. "Child of Storm" (3:50) a DEEP PURPLE-like organ-led motif opens this as the whole band congeals with it and J.W. (now "John"?) sings above the horns, dynamic organ and solid rhythm section. There are elements of this song that deserve superlatives while, at the same time, there are a few notable engineering and timing weaknesses, which makes it really hard to rate. I really like this one despite its flaws. (9/10)

5. "Far Beyond" (4:59) opening with 15 seconds that sound a bit like 10CC's "I'm Not in Love" before we switch to stage right where the solo piano takes control of the music with John's vocal, making it feel much more like a 1970 West End/Broadway "showtune." It is a nice song, well constructed and emotionally engaging, but other than the "safe" rock guitar solo in the third minute, it is nothing really exceptional. A piano rocker pop tune. I do, however, wonder if Jon Anderson and YES ever saw (or heard) this band live as there are some familiarities to the music on Yes' second album, Time and a Word. (8.875/10) 

6. "Seldom Seen Sam" (5:04) dipping into the sound and stylings of American band CREEDENCE CLEARWATER REVIVAL we have a solid Blues-Rocker that uses guitar and flute lines quite effectively to help form the matrix over which John sings in his less-than-usual nasally voice. Terry's guitar work--which is highlighted in a prolonged "C" instrumental passage--is quite in line with the stylings used by folk rock and Country-Western guitarists. (8.875/10)

7. "Upstairs" (4:44) heavy and thick with guitar and horn section power chords, the feeling here is like a cross between CHICAGO, COLOSSEUM, and PROCOL HARUM--this latter is especially true during the instrumental passages between John's vocals (which make up probably 80 percent of the song and are the best parts of the song). A rather dull, one-dimensional song that is elevated significantly by the South African-like guitar and bass lines played during the instrumental passages. Nice work from John Mealing on the organ as well as by Dave and Dick's saxes. (8.875/10)

8. "Here Comes Mr. Time" (4:45) the band's only other production credit, this one cries out BLOOD, SWEAT & TEARS with its Rock/R&B syncopation and steady vocal performance and prominent horn section. Terry exhibits a fuzzy/distorted sound for his solo in the second and third minutes. John's vocal performance in the second half begins to sound so much like JON ANDERSON (especially with the application of those YES-like background vocal harmonies. A solid song but, like so many of the songs on this (and other IF albums), I can see why/how it gets forgotten. (8.875/10)

Total time: 40:37

I'm so glad to hear the band returning to the jazzier side of music with this Jazz-Rock album release. I am, again, continually surprised that this band is held together by one of the musicians who seems to have decreased his role in the songs since their debut: saxophonist Dick Morrissey.  Also, as solid of a singer is J.W. "John" Hodkinson, his weakness (and, probably, his ultimate forgettability) is due to a lack of that "something special."

89.56 on the Fishscales = B+/4.5 stars; a near-masterpiece of skilled songs and performances captured with proficient engineering and production showing growth and maturation but, like much of the music of its comparable Jazz-Rock representatives, Blood, Sweat & Tears and Chicago, somehow lacking a necessary "it" factor to take them to the next level of international stardom. 

IF If (1970)

British Jazz-Rockers whose career lasted four years during which they were able to produce three very solid Jazz-Rock Fusion albums, starting with this one. The band's debut album was released in the UK by Island Records in October of 1970, in the US by the Capitol label.

Line-up / Musicians:
- J.W. Hodgkinson / lead vocals, percussion
- Terry Smith / guitar
- John Mealing / organ, piano, vocals
- Dick Morrissey / tenor & soprano saxophones, flute
- David Quincy / alto & tenor saxophones, flute
- Jim Richardson / bass
- Dennis Elliott / drums

1. "I'm Reaching Out on All Sides" (5:14) a simple straight Blues song that the band tries to jazz up with its horns in the fashion of bands like Blood, Sweat & Tears and Chicago though one can definitely hear the influence of any band the Steve Winwood has participated in by this time (The Spencer Davis Group, Traffic, Blind Faith). The music slowly increases in intensity over the opening three minutes, even as singer J.W. Hodgkinson sings in an Alex Ligertwood-type or Roger Wootton-like sound and style, building up a and somewhat unsettling or 'scary' hypnotic effect, but then, in the fourth minute, the two saxes appear with emphatic punctuation accents in the style and tradition of the famous MEMPHIS HORNS to take us into an even-more psychedelic WHO-like motif (complete with a PETE TOWNSEND-like singing voice). The effect of this two-person horn section is powerful enough to make me re-listen to the song over and over to uncover how, in fact, the band is achieving such an impressive "full horn" effect. (9/10)

2. "What Did I Say About the Box, Jack?" (8:20) despite a dynamic and powerful flute-and-sax-led Jazz-Rock opening and an ensuing "I'm a Man"-like organ chord progression over which composer Dick Morrissey performs quite a wild and enthusiastic flute solo, the main body of this song is built over organist John Mealing's four chord minor blues progression--a progression that was obviously borrowed from fellow Brit guitarist Peter Green's Latin-Blues songs "I Loved Another Woman" (from Fleetwood Mac's self-titled debut album) and "Black Magic Woman" (which was somewhat borrowed from John Mayall & The Blues Breakers' version of Otis Redding's "All Your Love" two years previously), the latter of which first appeared as a single, released by Fleetwood Mac in March of 1968--long before it became a household name via SANTANA's Abraxis album (both released in the Autumn of 1970). The Latinized minor blues chord progression then becomes the support bed for guitarist Terry Smith's extended lead, the two-sax "horn section"'s accents, and, later, some smooth sax soloing to take us well into the seventh and eighth minutes. I have to say that I am impressed with the way these guys can cobble together a song! (18.125/20)

3. "What Can a Friend Say?" (6:28) switching to a slightly-muted guitar tone, Terry Smith gives us an excellent STEPHEN STILLS impression on his lead guitar as the band establishes a very full, very dynamic Jazz-Rock motif for a vocal performance that reminds me of MURRAY HEAD in the iconic role of Judas in Andrew Lloyd-Weber's Jesus Christ Superstar. A very aggressive tenor sax solo takes over the lead in the middle of the song, presenting a very strong, very spirited performance as the equally-inspired rhythm section pushes and propells the music along in quite the BLOOD, SWEAT & TEARS fashion. Again, a powerfully-designed and amplified Jazzed-up Rock song. (9.125/10)

4. "Woman, Can You See (What This Big Thing Is All About)?" (4:01) Side Two begins with another blues-based chord progression and melody line that is elevated by speed and power of the musicians' dynamic energy. Solid and powerful. (9/10)

5. "Raise the Level of Your Conscious Mind" (3:11) using the Jazz-Rock medium to elevate the spiritual wisdom of the Hippie Age! It's as if the L.A. positivity is being taken over by the San Francisco blues-rock scene. I like the message: I can see it being effective as a medium for gaining audience participation (which was, apparently, one of the band's strenghts). (8.75/10)

6. "Dockland" (5:21) here again I find the band trying to tap into the social-political consciousness that musicians all over America were trying to squeeze into: CROSBY, STILLS, NASH & YOUNG and THE ASSOCIATION. It's good but now feeling rather dated. The final minute shows the band picking up from one of their previous songs--where the vocalist seems to want to sing about important things in a form most familiar to the radio world via the music coming from West End/Broadway-like stage musicals. (8.875/10)

7. "The Promised Land" (4:31) the hippie spirit of consciousness raising is again felt rather strongly in both the lyrics and the uplifting theatric/Christian music Singer J.W. Hodgkinson certainly comes across as feeling genuine in his backing of the lyrics he's singing. Heck! The whole band continues to come exploding through any haze or lethargy with their amazingly intrepid performances! (And, yes, I love the Stephen Stills guitar tone Terry has decided to settle into over the course of the second half of the album--since "What Can a Friend Say?".) (8.75/10)

Total Time 37:06

The band was obviously made up of experienced, well-trained musicians, at the same time it is equally obvious that they are rising out of the UK's well-steeped Blues/Blues-Rock scene. What I find most remarkable about the music on this album is the songwriters' abilities to cobble together riffs, themes, and styles borrowed from or inspired by other songs, bands, and musicians while rendering them interesting, layered, and each song multi-varied/multi-movement. It's still a mystery to me how this band & production crew got the powerful horn section sound out of two saxophone players! 

89.53 on the Fishscales = B+/4.5 stars; a near-masterpiece of Jazz-Rock that I'm almost ready and willing to bump up to masterpiece status based upon the consistently upbeat power and force of its music and mature whole-band performances. 

IF Waterfall (1972)

The American version of July's United Artist Records release entitled If 4. only with a slightly different song selection and order. Whereas If 4 contained six songs extracted from live performances (which may or may not have been from dates from their April tour of Germany).

Line-up / Musicians:
- J.W. Hodgkinson / lead vocals, percussion
- Terry Smith / acoustic & electric guitars
- John Mealing / piano, organ
- Dick Morrissey / tenor & soprano saxophones, flute, backing vocals
- David Quincy / tenor & alto saxophones, electric piano
- Dave Wintour / bass, backing vocals
- Clif Davies / drums
- Jim Richardson / bass (1,2,6)
- Dennis Elliott / drums (1,2,6)

1. "Waterfall" (5:42) a slightly different mix of the little live hippie/Christian Rock-feeling song. The flute solo during the middle instrumental jam is fun--with Dick Morrissey's vocalizations during his breath-catching breaks making me smile--and David Quincy, Terry Smith, and John Mealing's tight rendering of the middle ground's melodies beneath are awesome. Almost a Jethro Tull or Marshall Tucker Band feel. (8.875/10) 

2. "The Light Still Shines" (5:06) a pop-melody-driven show-tune that sounds like it came from Canadian band LIGHTHOUSE. Solid and dirty (which would be great in concert) with some nice vocal arrangements and stage imagery. (8.75/10)

3. "Sector 17" (8:00) demoted from being the opening song on the UK/European release, this slightly different version of the band's wonderful SOFT MACHINE-like Power Fusion jam with its great performances from guitarist Terry Smith and Dennis Elliott. (18.375/20)

4. "Paint Your Pictures" (5:18) a Beatles/Nektar-like psychedelic show-tune with a great body and chorus. (9/10)

5. "Cast No Shadows" (7:30) another multi-part tune that feels way more studio-generated than the other songs despite the poor placement and engineering of J.W.'s vocal as well as some poor sound collection from Clif Davies' drums. The jamming here sounds a lot like what one hears in Hendrix/Cream land. (13.375/15) 

6. "Throw Myself to the Wind" (4:42) a song that was composed by Dick Morrissey and his wife Barbara produces a heavier, much more Clapton-like Blues-Rock tune. The highlight for me is the back and forth duelling going on between Dick, Terry, and David. Nice THE BAND-like vocal harmonies accomplished by J.W. and John Mealing on this live performance. (8.75/10)

Total Time 47:48

89.50 on the Fishscales = B+/four stars; an excellent collection of live performances of never-before-heard original songs. Too bad these guys never caught with the radio DJs and audiences. 

CHICAGO Chicago Transit Authority (1969)

The debut album by the group from the city of its name--a group whose seven founding members would stay the same through ten years and eleven studio albums (one a "greatest hits")--until the tragic death of singer-guitarist Terry Kath (one of Jimi Hendrix's most respected and studied guitarists). A pretty remarkable phenomenon.

Line-up / Musicians:
- Terry Kath / electric & acoustic guitars, lead (1, 9, 12) & backing vocals
- Robert Lamm / piano, Wurlitzer, Hammond, Hohner pianet, maracas, lead (2-11) & backing vocals
- Lee Loughnane / trumpet, claves, backing vocals
- James Pankow / trombone, cowbell, brass arrangements
- Walter Parazaider / saxophones, tambourine, backing vocals
- Peter Cetera / bass, lead (4, 9, 11) & backing vocals, agogo bells
- Daniel Seraphine / drums, percussion

LP 1

Side One ("The Jazz-Rock Fusion Side")
1. "Introduction" (6:35) a mostly-instrumental song that does exactly what the title says: introducing the band and its complex, multi-layered Jazz-Rock Fusion orientation. The displays of time signatures, variety of mood motifs, with some very complex layering and stellar individual performances fully demonstrate the virtuosity of the collective which, then, reflects on the talents of all of the individuals as well. For me it's the playing of drummer Daniel Seraphine, bass player Peter Cetera, and trombonist James Pankow that really stand out. The septet is so tight! Absolutely brilliant! What an album opener! (9.75/10)

2. "Does Anybody Really Know What Time It Is?" (4:35) Robert Lamm's jazzy solo lounge piano in the opening 75 seconds is definitely misleading for what is to come. What a big, anthemic song it becomes! Lee Loughnane's trumpet looms so big over the top! And then there are the timeless lyrics as sung so powerfully by Robert Lamm. (Great b vox, too!) And then, of course, there are the iconic horns. Wow!(9.5/10)

3. "Beginnings" (7:54) one of the best/my favorite J-R Fuse songs of all-time. Terry Kath's acoustic rhythm guitar performance is one of the strongest you'll ever hear. The horns are perfect throughout--even moreso in the closing jam--as is Peter Cetera's rock-solid bass and Daniel Seraphine's drums--but the closing jam's vocal chant and percussion play is so rollicking fun: as infectious as anything Santana ever played on stage! (15/15)

Side Two ("The Blues-Rock Side")

4. "Questions 67 and 68" (5:03) A very cool composition that is, in my opinion, flawed a bit by the incongruity of Terry Kath's dirty-distorted (though dynamic) lead guitar play with the pristine clarity of the piano and vocals of Peter Cetera. The bass and horn blasts are a good match for Terry's lightning guitar runs, and the song, overall, is quite engaging--especially with sections like the "Up, Up and Away" motif in the third minute--but there are inconsistencies. (9/10)

5. "Listen" (3:22) blues rock with Latin percussion arrangement. This song feels as if was written five or six years before and revived for this album as one of the final fillers to make it a double album. One of Robert Lamm's raspy-raunchier vocal performances. The musicians just don't do enough to elevate it to the level established by the first three songs. (8.5/10)

6. "Poem 58" (8:35) interesting that this little-considered song is the band's longest of the first disc of their debut album. Rooted in R&B, Terry Kath, Peter Cetera, and Danny Seraphine set themselves up as a little power trio à la CREAM or the BAND OF GYPSYS so that Terry can show off more of his guitar skills and ideas. I imagine this to be one of the songs to have earned Jimi Hendrix's notice and adulation. At 4:50 the band's palette and orientation changes quite radically as the rhythm section opens up and slows down and the horns join in. Vocals and background vocals take over the foreground for a minute before Terry's searing blues-rock lead moves into the very front of the song while the other instrumentalists maintain their support with a James-Brown-like motif. And to think that, lyrically, this turns out to be a love "poem" just strikes me as odd and incongruous. (There is a little incongruity and unaddressed, even subliminal, conflict within several of the Chicago songs.) (17.5/20)

LP 2

Side One ("Terry Kath's Side")
7. "Free Form Guitar" (6:47) I was always fascinated by this song in my early teens: first of all for its experimental sound(s), but also for the fact that a band and record company would allow a song like this to A) be recorded, B) be considered for representation on an album to be published, and B) finally included on the internationally-published and marketed vinyl product. The cajones! Musically, this is mostly listenable as a curio, a time-capsule representation of the skills and technological experimentation and capacity available in 1968-69. (13/15)

8. "South California Purples" (6:11) I got to know and love this song because I played this side of CTA to death: I LOVED "I'm a Man," was fascinated by "Free Form Guitar" and really enjoyed the DEEP PURPLE-like simple bass, guitar, and drum pattern and the solos that could be played over and within it. (8.875/10)

9. "I'm A Man" (7:43) an absolutely iconic cover of Steve Winwood's famous song originally released by the Spencer Davis Group in January of 1967. Terry Kath's performances--on both electric guitar and vocal--are nothing short of ground-breaking--and the percussion work, organ, and background vocal performances are not far behind. (14/15)

Side Two ("The Political Side")
10. "Prologue (August 29, 1968)" (0:58) Led by the famous "The whole world is watching" crowd chant from the Democratic National Convention hosted by the city of Chicago in 1968, the band then tries to make sense of the events through song and lyric with the following song.

11. Someday (August 29, 1968)" (4:11) The band's processing of the events of the crowd demonstrations at the Democratic National Convention in 1968. (8.75/10)

12. "Liberation" (14:38) the album's longest song, 7:45 of it is a power rock guitar jam, the second part turns more bluesy but that ninth minute seems to revert into a vehicle for more of Terry Kath's free-form guitar --or at least it threatens to do so: this time the rest of the band members are right on board with Terry, presenting their own creative sounds to try to match or support Terry's acid-psych tripping. Then, from 11:30, the music breaks down into very lovely gentle blues-rock jam. (Is this where some of Dutch band FOCUS got their ideas?) I love the genuine emotion of Terry's "Thank you, People" before the frenetic Chuck Berry finale. (26.333333/30)

Total Time: 76:36

This album had/has such a different feel than any/all other Chicago albums (even the half-jazzy VII or the avant/RIO II); it is a true collection of experimental/progressive songs--many of which are on the jazz-rock side of the spectrum. From start to finish each song is testing boundaries, pushing composers' and performer's limits. The fact that radio play was achieved by any of these songs is miraculous cuz they're all long songs (much longer than the proscribed 2-3 minute AM pop standard), yet I heard over half of these songs on the FM radio in my home town of Detroit. (Thank you, WABX!)

     The double album's first side is it's most thorough and complex whole-band rendering of some very advanced compositions--truly befitting of the new jazz-and-rock fusion movement. Side Two presents three songs that sound much more representational of an older, more foundational "blues-rock" incarnation of the band. Side Three seems to bend/cater to the band's most experimental member, guitarist Terry Kath. (I think they all understood what a genius they had in the form of Terry.) Side Four seems to allow the band to express the angsty zeitgeist of the Vietnam/Civil Rights/Nixon times. This does not make a fully or even partially perfect "jazz-rock fusion" album, but there are definitely lots of musical elements being fused into this album's whole.

89.45 on the Fishscales = B+/4.5 stars; rated up for creativity and sheer guts; a minor masterpiece of early or proto-jazz-rock fusion.

OUT OF FOCUS Wake Up! (1970)

The debut from this München-based  band, Wake Up! is an album of psychedelic blues-rock music in the vein of The Rolling Stones, Cream, or even early Jethro Tull. 

Line-up / Musicians:
- Remigius Drechsler / guitar
- Hennes Hering / keyboards
- Moran Neumüller / vocals, saxes, flutes
- Klaus Spöri / drums
- Stefan Wisheu / bass

1. "See how a white negro flies" (5:48) a song that opens announcing clearly that the band is firmly entrenched in blues rock sound palettes of the previous two years. Flutes and organ add some spice over the top of the insistent motif. Vocalist Moran Neumüller sings in a haunting voice similar to other psychedelic blues rock icons of the late 1960s. Remigius Drechsler's distorted lead electric guitar solos in the fourth minute. Again, this could come straight out of anything that CREAM or BUFFALO SPRINGFIELD had been doing in the previous two years. Though derivative, it is a very solid example of late 1960s psychedelic blues-based rock 'n' roll. (8.875/10)

  
2. "God saved the queen, cried Jesus" (7:28) the Mick Jagger-like vocals and provocative lyrics give this early Jethro-Tull-like song some teeth. With the much softer, delicate instrumental passage in the fourth minute, with its Ian MacDonald-like extended flute solo, serves notice of the band's prog aspirations. This is then followed by a heavier section over which Moran's flute continues to be the main soloist. Singing and guitar soloing follows before the JTULL-like finish. Pretty remarkable song! (13.5/15)

  
3. "Hey John" (9:35) opens with a pensive bass, guitar, a cymbal note-by-note interplay overwhich Moran's flute sings mellifluously. When the full band kicks into full dynamics it is with a very familiar LED ZEPPELIN-like descending four-chord progression. Things spread out again for the entrance of Moran's Mick Jagger-like vocal, delivered in a kind of Robert Plant style. In fact, the whole song feels like a replication/variation of Zep's "Heartbreaker." Nicely done extended tribute (though Remigius is not Jimmy Page and drummer Klaus Spöri is no John Bonham). I really like Hennes Hering's unusual Hammond solo in the middle. Also, I'd like to commend the clean, clear sound gleaned from Stefan Wisheu's electric bass: it's very important to the overall "mature" and "professional" sound of the album. (17.75/20)

4. "No name" (3:06) opening with Moran's a cappella voice, almost whisper-sung, before the band bursts into a heavy blues rock motif with flute, theatric vocals, Hammond, and electric guitar each adding their distinctive flourishes. I love the cute little upper register guitar garnishes over the bass and Hammond in the instrumental mid-section. Kind of cool! (9/10)

5. "World's end" (9:55) a fairly simple chord structure presents this anthemic feeling--as if the band is truly expressing their thoughts, concern, and confusion over the state of the world's social-political scene (the Cold War tensions and the misguided expeditions of the American military [Vietnam]). There is quite a feeling of Krautrock solidarity in the hypnotic commitment to such strict rhythmic foundations in this one--at least up until the quite passage that serves as a reset and reconfirmation of the overall insistence to the song's and then ends up surprising us by starting a new motif for the 45 seconds of the song. Trippy! And powerful. Definitely a great representation of the angst of 1970. (18.5/20)

6. "Dark, darker" (11:37) Moran's vocal is mixed quite uniquely for this song: as if in an isolated, separated chamber. The music is remarkably simple and almost emotion-lessly mathematical in its rhythmic foundations, giving the musicians the feeling that they're "dialing it in" i.e. not fully invested. Even in the circular three-chord instrumental jam supporting the frantic flute solo in the song's middle third feels too rote (especially in the bass, guitar, and organ play). Then there is a pause that allows a reset, which sees the band filling the final three minutes of the song with some militaristic pulse-running before everything ends with some crashing instruments and musicians (whose fatigue is well-captured on tape during the final minute of recording: "Are we done?" and "Ughhh!" being expelled as the musicians shut down, unplug and put away their instruments. Weird and sadly anti-climactic song. (17.25/20)

Total Time: 47:29

With four unusually-long songs crammed into this 47 and a half minute long album, one can only guess at the band's full intentions. What I love most about the songs on this album is the clear "team" approach to song construction and performance on display with each: no one musician/artist is really trying to grab the spotlight; everybody seems fully supportive of the effort to present fully-developed and fully-integrated songs. 

89.34 on the Fishscales = B+/4.5 stars;  a near-masterpiece of angst-filled compositions that feel so precisely representative of the zeitgeist of the times. If it weren't for the weakness of the final "song of exhaustion" this would probably qualify as a masterpiece.

JAN HAMMER The First Seven Days (1975)

A prog-like concept album?! (From The Year in Which Anything Was Possible!) With The First Seven Days Jan Hammer grabs the commercially-successful progressive rock bull by the horns and tries his hand at "soundtrack" music (something he will excel at in the near future) as artists like Mike Oldfield, Rick Wakeman, Vangelis Papathanassiou, Jeff Wayne, Patrick Moraz, Larry Fast, David Sancious, and so many others had been trying to do for the previous year or two.

Line-up / Musicians:
- Jan Hammer / piano, Fender Rhodes electric piano, Mellotron, Moog, Freeman String & Oberheim synths, digital sequencer, drums, percussion, producer
With:
- Steven Kindler / violin (2, 5-7)
- David Earle Johnson / congas & percussion (5, 6)

1. "Darkness/Earth In Search Of A Sun" (4:31) decent soundtrack music with everything performed by Jan himself. Impressive! (9/10)

2. "Light/Sun" (6:44) the "Light" component of this song/suite is comprised of a treated(?) jazz piano played over Oberheim synth strings in a near-melody-less fashion (with a poorly recorded piano). The second half of the song sees Jan moving totally into full synthesizer mode à la Japanese artists Tomita and Kitaro as well as Todd Rundgren (side two of 1975's Initiation),Vangelis Papathanassiou, Larry Fast, and to a different degree, Kraftwerk were doing. I rather like this second part--and, surprisingly, moreso with each repeated listen (perhaps because it sounds so much like a personal favorite "song" [suite] of mine: Tod Rundgren's "Treatise on Cosmic Fire")! (9/10)

3. "Oceans And Continents" (6:16) hi-lo bounced piano chords over and within which various "strings" and Moog sounds are laid out and/or woven. It's pretty though rather simple; what it does do is capture a mood--much in the way that New Age artists like Suzanne Ciani, Philip Aaberg, Liz Story, Yanni and David Lanz would soon be making careers out of. (8.875/10)

4. "Fourth Day - Plants And Trees" (2:46) oddly melodic "classical" piano, tout seul (until synths, 'tron, et al. join in during the final minute). (8.875/10)

5. "The Animals" (6:14) African drums displayed prominently beneath Jan's strings, Moog, and other strands of synths. An hypnotic tune that is, ultimately, rather enjoyable. The shift in tempo and dynamic at the 3:50 mark, I take it, is meant to represent the wild herds on the plains--or the dynamic chases that occur as the predators hunt down their food prey. The percussion play on this song is my favorite element despite the Mahavishnu-level epithets of machine gun spray emanated from Jan's keys at the end. (8.875/10)

6. "Sixth Day - The People" (7:15) piano and Steve Kindler's violin dancing a rather formal, almost classical, duet for the first two minutes. Then Steve fast-bows a single note while Jan introduces some odd synthetic sounds (sequenced) into the mix and the dance starts over. The sequenced synthesizer, it would seem, might be intended to depict society and advancements in technology--things that contributed not only as survival tools but, eventually, as means to comfort, ease, and, hopefully, artistic creativity.--especially as the weave thickens and grows in complexity over the course of the length of the song. Interesting. And not a bad representation for the addition of humankind. (13.5/15)

7. "The Seventh Day" (6:11) repetitious piano chord and melody could very well connote the Day of Rest. The full-build of the musical palette and form would certainly lend itself to thinking of relaxing--at least for the first 90 seconds. Add drums, violin, and synths and we have a more plotted out day presented to us: brunch, church, group entertainment (involving Nature?), family gathering (for a Sunday meal). Nice finish to a surprisingly satisfying (though fairly simple) album. (8.875/10)

Total Time 40:08

An album that feels oddly brief for the number of things The Creator god accomplished over the space of those seven "days." I have to admit that I'm a bit surprised at the (admirable) restraint shown by one of Power Fusion's founding disciples! Who knew that Jan could grasp a concept such as "Less is more"? 

89.33 on the Fishscales = B+/4.5 stars; a near-masterpiece of remarkably-well-crafted progressive rock soundtrack music! 

IF If 4 (1972)

Warning: This is a collection of recordings of songs that were extricated live concert performances--quite possibly all from the band's tour of Germany in April of 1972. The songs were selected and cleaned up for publication in three locations: London (UK), Memphis (TN), and Atlanta (GA) and then released by United Artists Records in Europe on July 15, 1972 (in Germany as If 4 (On Tour in Germany - April 1972)). An American version, entitled Waterfall, was not released until September. 

Line-up / Musicians:
- J.W. Hodkinson / lead vocals, percussion
- Terry Smith / guitar
- John Mealing / keyboards
- Dick Morrissey / saxophones, flute
- David Quincy / saxophones
- Jim Richardson / bass
- Dennis Elliott / drums

1. "Sector 17" (10:34) a recording of a live stage performance, it starts out slowly with one saxophonist and John Mealing's electric piano conversing minimally over space and time before being joined by the pulsing notes of Jim Richardson's heavily-distorted bass and some small chords from Terry Smith's dirty electric guitar. As the band congeals and shifts into gear the palette and style of the jam motif feels a lot like the work of THE SOFT MACHINE around this same time. The second thru fifth minutes are dominated by Terry's guitar shredding and man! is he all over the place: rapid legato runs, angry chord slashes, and everything in-between, all the while drummer Dennis Elliott and the percussion crew and rhythmatists are flying at top speed over the rolling terrain--until 5:25 when a little bridge stops the forward momentum allowing for the setup of a new motif (slowly building in both tempo and power) in which the horns get their turn to scratch and wail as the rhythm section beneath recharges, re-builds, and releases. Marvellous! Now this is Jazz-Rock Fusion (bordering on Power Fusion). (18.625/20)

2. "The Light Still Shines" (5:06) a pop-melody-driven show-tune that sounds like it came from Canadian band LIGHTHOUSE. Solid and dirty (which would be great in concert) with some nice vocal arrangements and stage imagery. (8.75/10)

3. "You in Your Small Corner" (3:49) a poppy anthemic song with expanded contingent of (uncredited) background vocalists (including females) which make it sound like a live/stage performance. (8.75/10)

4. "Waterfall" (5:27) another little hippie/Christian Rock-feeling song that has all the sound markings of a live recording (including universal mics capturing the panned imagery of each band member's placement on stage). The flute solo during the middle instrumental jam is fun--with Dick Morrissey's vocalizations during his breath-catching breaks making me smile--and David Quincy, Terry Smith, and John Mealing's tight rendering of the middle ground's melodies beneath are awesome. Almost a Jethro Tull or Marshall Tucker Band feel. (8.875/10)

5. "Throw Myself to the Wind" (4:51) a heavier, much more Clapton-like Blues-Rock tune in which the highlight for me is the back and forth duelling going on between Dick, Terry, and David. Nice THE BAND-like vocal harmonies accomplished by J.W. and John Mealing on this live performance of a song that was composed by Dick Morrissey and his wife Barbara. (8.75/10)

6. "Svenska Soma" (7:09) back to instrumental Jazz-Rock (where I think the band really excels--no disrespect intended, J.W. and John). A two part song: first with horns leading the way before everything switches to a three-chord rondo that sounds like a Grand Funk Railroad-like motif in which John solos extensively on his organ. At 3:40 he's finished and the band switches back into a faster-paced four-chord motif for Dick and David to trade solos. I love the encouraging vocalizations from other band members in the background. (13.25/15)

Total Time 36:56

After several close listens I am prepared to declare that, yes, as suggested by the title on the German release, this is a collection of songs gleaned from live concert performances. Despite the fact that all of the material performed (and captured) here are original songs, I am not, as you may know, a fan of albums of live concert performances. Perhaps I'm changing that.

89.33 on the Fishscales = B/four stars; an excellent recording of some great live performances of previously-unreleased, original pop- and Jazz-Rock-oriented songs.

P.S. If 4 was never released as such in the USA, instead, a different album, Waterfall was released in September of 1972 by US Metromedia--and album that presented different mixes of four of the above songs, issued in a different order ("Waterfall" coming first instead of "Sector 17"--which was moved to the album's third spot), 2. "The Light Still Shines" and 5. "Throw Myself to the Wind" remained in their same positions while two songs were removed ("You in Your Small Corner" and "Svenska Soma") and replaced, respectively, by the Beatles/Nektar-like psychedelic show-tune with the great body and chorus, "Paint Your Pictures" (5:18) (9/10) and another multi-part tune that feels more studio-generated, "Cast No Shadows" (7:30) (13.375/15).

IF If 2 (1970)

The band must have put a lot of music in the can during the recording sessions that provided the material for the October release of their debut because this album, their second, was also released within the same calendar year as their debut! Thus the similarities in sound and production quality between this album and its predecessorAfter the band's debut album rose quickly in the charts--in both the UK and the USA--

Line-up / Musicians:
- J.W. Hodgkinson / lead vocals, percussion
- Terry Smith / guitar
- John Mealing / organ, electric piano, backing vocals
- Dick Morrissey / tenor & soprano saxophones, flute
- David Quincy / alto & tenor saxophones, flute
- Jim Richardson / bass
- Dennis Elliott / drums

1. "Your City Is Falling" (5:04) my premise of prediction offered in the opening intro to this review may have just been proved quite wrong by this song: the compositional demands of this song feel far more demanding than anything on the first album and the musicianship feels quite a step up from nearly everybody but especially from keyboardist John Mealing and drummer Dennis Elliott: the two are on fire! Quite the dynamic, even rousing, gem. A masterpiece of Jazz-Rock Fusion. The only weaknesses come from the Grand Funk Railroad-like lyrics/subject matter and vocal (or perhaps more accurately: the presence of vocals). (9.375/10)

2. "Sunday Sad" (8:18) Point Two in the disproval of my opening theory: the guitar tone selected by Terry Smith for the opening of this song is quite different than the one he settled into over the course of the song sequence of the debut album. The vocal and musical style presented here is very much in the wheelhouse of the great new emerging American Southern Rock bands--like Buffalo Springfield, The Band, and The Allman Brothers as well as Grand Funk or The Who. (17.5/20)

3. "Tarmac T. Pirate and the Lonesome Nymphomaniac" (5:12) reaching back to their Blues and Blues Rock roots we have The WHO with Roger Daltry and BLIND FAITH as the would be targets for emulation with this one. Decent rock but not really anything close to J-R Fusion. Nice Clapton guitar work, Terry! (8.75/10)

4. "I Couldn't Write and Tell You" (8:23) this one takes me back to Stevie Winwood's early days with The Spencer Davis Group (parts of this song feel lifted straight out of "Gimme Some Lovin'"). The band is so tight, the musicianship so well synchronized, it's almost enough! But, in the end, this is not the type of music that I run to. It is rather remarkable how often J.W. hits a note and I find myself thinking that I'me hearing Roger Daltry or Stevie Winwood (which definitely begs the question as to why this band didn't reach lasting international fame). I love the interplay between Terry's speedy lead guitar note-play, Jim Richardson's bass, and Dennis' stick-to-metal percussion play during the fifth thru seventh minutes. (17.75/20)

5. "Shadows and Echoes" (4:24) a little funky Soul music! I am impressed! This could easily have come out of some Philly, Chicago, or even Motown studio--at least, that is, the first two minutes! Then, around the two-minute mark, as J.W. winds up his singing portion of the song, the band high-tails it into the hills with jazzy instrumental passage of breath-taking speed, but this, sadly, only lasts a minute or less before the band returns to a recapitulation of the A-B sections for J.W.'s soulful finish. Fascinating! (9.125/10)

6. "Song for Elsa, Three Days Before Her 25th Birthday" (5:11) another bluesy WHO-like tune that stays a little more grounded in the Jazz-Rock that made their first album such a different delight: In fact, knowing the band's history (with sax player Dick Morrissey being the leader that holds the band together for as long as it did) how little solo or even "horn section" time he and David Quincy are occupying on this album. At least they get this one song! (8.875/10)

Total Time 36:32

The musicianship and compositional acumen are on the rise but the direction away from both Jazz-Rock Fusion and even Jazz-Rock has me feeling a bit disappointed.

89.22 on the Fishscales = B/four stars; an excellent collection of sophisticated Blues-Rock-based songs that show the band's movement more toward Pop-R&B than Jazz-Rock Fusion (or even Jazz-Rock).

COLOSSEUM II Strange New Flesh (1976)

A band of some of Britain's finest prog rock musicians has its feet in rock, classic rock, and prog rock though they seem to be trying to exhibit their instrumental prowess as a power Jazz-Rock Fusion band. The official release date of the debut studio album by Colosseum II, entitled Strange New Flesh, was April 19, 1976. Released on Bronze Records, this album marked the beginning of the jazz-rock band led by Jon Hiseman and featuring guitarist Gary Moore.

Line-up / Musicians:
- Mike Starrs / lead vocals
- Gary Moore / guitars, vocals
- Don Airey / Fender Rhodes, Steinway grand piano, ARP Odyssey, ARP Solina, Minimoog, Hammond organ, clavinet
- Neil Murray / bass
- Jon Hiseman / drums, percussion, timpani, gong, producer

1. "Dark Side of the Moog" (6:17) a song that has a bombastic, proggy side to it, probably thanks to composers and lead instrumentalists Gary Moore and Don Airy. I hear Patrick Moraz, Brand X, and Jan Hammer in this music: great musicianship but there's something a little off (forced) that is difficult to explain. (9/10)

2. "Down to You" (9:05) a cover of a Joni Mitchell song picked up by Gary Moore that Don Airey has amplified and embellished with his own Renaissance-like piano-and-acoustic-guitar mid-section. Mike Starrs' lead vocal gives it a Journey-like sound and feel though I hear some of Robert Plant's bluesyness in there as well. The overall sound palette and engineering style just feels more Prog Wannabe Classic Rock oriented than Jazz-Rock Fusion. (17.625/20)

3. "Gemini and Leo" (4:48) a song whose music feels more oriented to the funk sounds and styles of contemporary artists like Jan Hammer and Billy Cobham, but then Mike Starrs' Robert-Plant-like vocal enters and suddenly Gary Moore is a blues-rock guitarist. Don't get me wrong: There is great musicianship throughout (especially coming from drummer Jon Hiseman and funk keyboardist Don Airey), it's just that something feels a little too cringeworthy--as if we're hearing a kind of music that the Western World might (should) be rather embarrassed about. (8.75/10)

4. "Secret Places" (3:59) another song that feels cringeworthy: like a classic rock band covering a Bay City Rollers or Loverboy song. The bass, drums, and keyboard work are wonderful but the vocals and guitars are pure hair band rock. (8.6667/10)

5. "On Second Thoughts" (7:30) schlocky/syrupy electric piano supports a weird "muted" electric guitar sound soloing away for the first minute of this song before bass and drums enter to establish the slow, plaintive music to support Mike Starrs' Gino Vannelli/George Michael-like vocal on what feels like a take Norman Connors' "You Are My Starship" music. Great blues-proggy Classic Rock sound with pretty amazing super-nuanced musicianship from everyone involved--even Mike's multiple tracks. (13.5/15)

6. "Winds" (10:23) a song that comes across as something more akin to the music of GINO VANNELLI, VAN DER GRAAF GENERATOR or American band BABYLON when Mike Starrs is singing, more like some supergroup when it's instrumental. The musicianship is so high quality that you find yourself feeling that this must certainly be an all-star conglomeration of Jazz-Rock Fusion artists, must certainly be a consortium of Southern Rock celebrities, must certainly be the finest gathering of Classic Rock musicians ever collected on one stage, and yet it's Colosseum II! Then it finishes with a vocal-led motif that feels as if taken straight off of Matthew Parmenter's great power epic from Unfolded Like Staircase, "The Storm" (or, rather, as if MP lifted the motif from this album for the most dramatic part of his song "The Storm").  I find myself loving this song more for it's amazing musicianship and overall feel than I find myself cringing from its schlocky excessive bombast. (18.25/20)

Total Time 42:02

The band definitely has the dynamic high-energy Mahavishnu/RTF thing going on but keyboardist Don Airey gives them a definite foothold in the prog element as well. Mike Starrs, however, anchors the band in the bluesy classic rock traditions more attuned to Led Zeppelin, Styx, and Journey. This album can only qualify as Jazz-Rock Fusion based upon the outstanding skills and jazzy instincts displayed by the musicians, while it is really not J-R Fusion so much as bluesy Classic Rock--a choice that is made self-evident by the presence and support of the use of singer Mike Starrs as one of the band's main tools of expression. I must add that I firmly hold drummer Jon Hiseman in the absolute highest esteem and keyboard player Don Airy and guitarist Gary Moore are right there with him--as is bassist Neil Murray--and Mike Starrs is certainly as talented and skilled as, say, the great Gino Vannelli--but together they have a quite enigmatic even nebulous identity. 

89.167 on the Fishscales = B/four stars; an album of absolute highest-class musicianship whose song presentations feel like hodge-podge pieces from different puzzles glued together almost haphazardly and with multiple and disparate goals in mind. Being exposed to this album is definitely one of the strangest listening experiences I've ever had in my lifetime!

The GARY BURTON QUARTET Duster (1967)

Acclaimed as one of Jazz-Rock Fusions' first albums, Duster was recorded on April 27-28, 1967 and then released in November by RCA Records. A quartet, Duster featured the collaborative musicianship of guitarist Larry Coryell, bassist Steve Swallow, and drummer Roy Haynes.

Line-up / Musicians:

- Gary Burton / vibraphone
- Larry Coryell / guitars
- Steve Swallow / bass
- Roy Haynes / drums

A1. "Ballet" (4:55) the band's rendering of this Michael Gibbs composition sounds like an attempt to build something on a riff from one of Miles Davis' latest Second Great Quintet albums. The song sounds like a standard Hard Bop song --which hen moves into something more akin to the Cool Jazz world for Steve Swallow's solo in the fourth minute before returning to the exploration of the opening section's chordal riffs. Yes, the guitar tone and riffing styles used by Larry Coryell during his solo in the third minute sound as if a Rock guitarist were sitting in on the session, but, otherwise, what I hear in this song is what I'd consider a pretty eclectic though also pretty typical, Jazz tune from the Sixties. I do like this type of Jazz, though. (9/10)

A2. "Sweet Rain" (4:23) dreamy soundscapes set up through Gary's mellifluous slow-decaying Vibraphone runs and chords, Larry's gentle and peaceful guitar tone for his jazzy chord and note play, and Roy Haynes' nuanced cymbal play. (I can barely hear any bass.) This is the second of Michael Gibbs' three compositions--and what a varied bunch the three are! (8.875/10)

A3. "Portsmouth Figurations" (2:56) built on a little more speed, the drums and bass are played rather quietly while Gary and Larry fly through their jazzy chord progressions (via Gary's arpeggios and Larry's quick-change chords and Vibraphone-matching legato runs). Then Roy's drums "suddenly" appear with quite some aplomb for a solo in the second minute. (Who knew?) Then Gary and Larry finish things off with the same furious legato runs as before. Weird but impressive. (8.875/10)

A4. "General Mojo's Well Laid Plan" (4:57) an interesting song for how laid back and colloquial it feels--as if it's a cover of a Surfer Rock (or, more truly, Yacht Rock) love song (though it's a Steve Swallow original). The song is quite floatacious and mellowing--perfect for laying out on the veranda in the soft breezy sunshine. Pretty. Steve Swallow's solo almost lulls me to sleep. (8.875/10)

B1. "One, Two, 1-2-3-4" (5:55) a vehicle created by Gary and Larry to display the expression of Larry's free-form rock ideas. The song's first 2:30 is a Roger McGuinn "Eight Miles High"-like exposition of Larry's fiery, almost reckless abandon guitar play with Gary sitting silently from the sidelines, but then Gary takes a turn--trying every bit as hard as Larry to zoom along at reckless speeds (only his instrument doesn't convey that kind of abandon as well as Larry's guitar). At the end of the fifth minute the two come together, matching legato lines with admirable precision and unity. All the while Roy and Steve are below venting a little of their own chaotic energies. Now this might meet all the requirements of Jazz-Rock Fusion. Though not my favorite kind of music, this is an impressive display of musicianship. (9/10)

B2. "Sing Me Softly of the Blues" (4:02) covering a Carla Bley composition the band starts out with Gary, Steve, and Roy establishing the spacious, plodding foundation over which Larry joins in playing in a tone and style that is most often found in Country-Western music. At 1:30 there is a subtle yet quite remarkable shift into Blues as Larry relinquishes the lead to Gary: it's as if the band has pretty much abandoned the Country-Western sound and feel that Larry had been championing! In the end of the third minute Larry returns to the front, now sporting what feels more like a Hawai'ian sound styling. The chordal interplay of Gary's Vibraphone is so smooth and genius--perhaps frustrating Larry with its super Coolness so that he lashes out in the song's final 25 seconds with a flare of pure Blues-Rock to help bring the song to end. Very interesting! (8.875/10)

B3. "Liturgy" (3:24) back to the Michael Gibbs compositions (the final of three), we find ourselves once again back in the world of more familiar Jazz, here some of the Cool Jazz that was probably Michael's bread and butter during his formative years in the late 1950s. (I'm jsut learning that a friendship and collaborative partnership between Michael and Gary began in the early 1960s when they were both students at Berklee College of Music--both being particular students of Herb Pomeroy--as was Steve Marcus. A long and fruitful relationship, the music world is quite fortunate to have benefitted from.) (8.875/10)

B4. "Response" (2:10) ending the album with a dreamy Hawai'ian soundtrack piece courtesy of one Gary Burton, the gentle camaraderie between Gary and Larry is perfectly on display here--which makes for an excellent song to exit with. (4.5/5)

Total time: 32:46

I have absolutely no complaints about this album. The music is wonderful, the performances outstanding--especially from the two guys up top--offering the world some entertaining and enjoyable Jazz music to feast from. The credit for contributing in a major way to the launch of Jazz-Rock Fusion is a little generous, though Larry Coryell's cross-pollinated background (and preferences) definitely come shining through (such a versatile guitarist!) but the foundational music and finished products here belong almost exclusively to the Jazz world.

89.167 on the Fishscales = B+/four stars; an excellent collection of contemporaneous Jazz tunes remarkable for the occasional injection of "outside" sounds from eclectic guitarist Larry Coryell. 

SINTESIS Sintesis (1976)

A group of musicians with varying degrees of experience who met and formed a band through associations at the University in Rosario, Sintesis came from pre-military regime Argentina, a promising band of adventurous, even visionary creatives, whose progress and development was brought to a sudden end by the 1976 military overthrow of the Péron regime in Argentina and the successive "Dirty War" in which thousands of Argentines were killed, disappeared, and/or subjected to torture during a period of military oppression and authoritarian rule. The military junta engaged in a campaign of violence and repression against suspected political opponents, including left-wing activists, students, intellectuals, and even artists. Though the band members of Sintesis were able to avoid violence by fleeing to other places on the globe, some may recognize the name of violinist Sergio Polizzi for his contribution to BUBU's 1978 release, Anabelas. The self-titled album Sintesis, by the Argentine jazz-rock group Sintesis, was recorded on March 24 and 25, 1976, at Sound Centre Studio in Buenos Aires and was released in 1976 on the Profeta Records label.

Line-up / Musicians:
- Luis "Chachi" Ferreyra / saxophone
- José A. Migoya / guitar
- Juan C. Ricci / bass
- Julio Cusmai / drums
- Mariano Zarich (La Pesada) / saxophone
- Oscar Tissera (Alberto Favero, Piero, Oscar Alleman con Jorge Anders Y Son Orquestra, Heloisa Raso con Sebastião Tapajos) / flute
- Santiago Aldana / clarinet
- Sergio Polizzi / violin

1. "Lo Obvio Según Yo" (3:50) obtuse and angular music of high degree of difficulty, especially in terms of shifting, changing time signatures and suddenly-changing stylistic modalities. Though this still feels like some rudimentary whole-band practice exercise, the skill levels on display--especially in the first motif, are quite remarkable (even in the bluesy second motif, the longest, but more in the final one). (8.75/10)

  
2. "Sin Nada" (5:26) this one adds violin and flute to the mix, resulting in something much more jazz-classical in sound and nature--like something from Québecois band CONVENTUM, American band HAPPY THE MAN, Japanese proggers KENSO and MR. SIRIUS, or even some of AFTER CRYING's 1990s material. Again, the band has chosen to merge three different motifs into this one "song"--most of which really puts on display Sergio Polizzi's violin prowess, though flutist Oscar Tissera's talents are also to be noted. Guitarist José Migoya has the last turn in the spotlight but doesn't quite wow me as much as the previous two. (8.875/10)

3. "La Necesidad De Amar...A Veces" (3:42) a great song to display the talents of (and dispel my previous low estimation of) drummer Julio Cusmai and bass player Juan Ricci. Here the saxophonists (Chachi and Mariano Zarich) do a remarkable interweave of their two dynamic and soloing instruments: definitely the song's highlight and one of the more impressive displays on the album. (9.125/10)

4. "Algunas Maneras De Expresarme" (3:27) a guitar-centric song on which José Migoya gets the chance to "show off." Nice drum work in support by Julio Cusmai but my favorite parts are the interplay (and feeding off one another) of bass player Juan Ricci with José. (8.875/10)

5. "Todo Lo Necesario Para Lo Necesario" (2:21) a cool little centerless avant garde tune with bass, two saxes and clarinet opening the song before drums and, later, guitar join in. Several time shifts lead to different feeling motifs, all of which are pretty fascinating for the three-part weave being enacted over the top. (4.75/5)

6. "El Final" (8:02) in interesting start evolves into a song motif that sounds as if it came from a 1960s Beatnick-turned-Rock 'n' Roll band. The solos from sax, flute, and guitar are good--they almost succeed in distracting the listener from the very rudimentary rhythm tracks, but in the end it's just a two-chord vamp existing solely for as a vehicle for the veterans to show off their At 4:10 there is a little bridge that tries to get the listener's blood going which serves to make a break for the electric guitar to take a turn with a distorted fuzz sound. At 5:20 there is a stoppage to all rhythm instruments to allow for a two-flute and bass trio. At 6:05 drums and sax rejoin, making for a nice weave with the flutes and bass before falling into a 1960s game show theme song and then an uncalled-for (and, frankly, undeserved/unearned) drum solo to bridge us into yet another 1960s game show theme song. (13.125/15)

7. "Reminiscencias" (bonus track on 2016 CD release) (5:30) a smoother, more groove-oriented and different, more synthesized and modern sound palette than the band's other pieces (which might explain how and why this song was not among the songs on the original release: it's more of a Smooth Jazz vamp over which guitarist José Migoya was able to play around on his new guitar synthesizer. Sounds more like something from the experimental period of Allan Holdsworth's SynthAxe period in the 1980s. (8.875/10)

Total time: 32:43

An album of boundary-pushing creativity by a band of highly skilled, highly-disciplined musicians who had a musical vision that ranks among the greatest creatives in the world. The bass and drums are well-skilled, they are definitely not in the same league as the lead instruments. One of my problems with this collection of songs is how each and every song sounds as if performed and recorded by a totally new ensemble: some have violin, most don't; some have sax, some don't; some have guitar, some don't; none have keyboards(!); some songs feel free and loose, some feel restricted and like someone pushed "record" during a practice session. Most of the songs feel disconnected from one another 

I do have to comment on the fact that other music reviewers before me have praised this album to what I think are rather excessive ends; I do not think that the products on this album stand up next to any level of top tier albums or songs from the lauded and honored Masters of J-R F, Avant/RIO, or prog, and nor do I think that any of the six songs on this 27-minute long EP (32:43 if you count the seventh song, "Reminiscencias" that was tacked on to the end for the 2016 CD re-release from BlueArt Records) represent polished or "finished," much less fully-developed, songs: they all could use a ton more work before they rise out of the "demo" level into public release level renderings. Yes, these are talented, spirited and ambitious men--especially the two seasoned veterans (flute player Oscar Tissera and sax player Mariano Zarich), but think about it: if music was really in the blood of these men, don't you think we would have heard more from more of them in the years after stability and artistic and intellectual freedoms were restored to their native country?

89.167 on the Fishscales = B/four stars; an intriguing albeit brief album of unfinished, unpolished songs that leave the listener wondering, "What if?"

SECRET OYSTER Vidunderlige Kælling (1975)

Secret Oyster's third album fulfills the prog potential and direction that was suggested on their previous two albums.

Line-up / Musicians:
- Claus Bøhling / guitar, sitar
- Kenneth Knudsen / piano, electric piano, Moog & string synths
- Karsten Vogel / saxophones [alto & soprano], string synth
- Jess Staehr / bass
- Ole Streenberg / drums & percussion, accordion
With:
- Keld Jensen / mandolin (8)
- Palle Mikkelborg / String synth & trumpet (6)
- Kasper Winding / percussion (3, 7)

Side One (The Astarte Suite) (the "German" side):

1. "Intro" (2:10) all keyboard for the first 30 seconds, then flanged drums, electric bass, electric guitar and 
treated sax enter to give it a futuristic (though now dated) feel. Is this an indication that the band is moving more toward the progressive rock domain? (4.333/5)

2. "Stjernerne pa gaden (The Stars in the Street)" (5:41) veering away from the Popol Vuh-like Kosmische
Musik they seemed to be exploring on the last album (especially on the second side), the band is still obviously deeply entranced by the new world of synthesizers and electronic effects. (8.75/10)

3. "Sirenerne (The Sirens)" (5:03) though elements here seem to indicate J-R Fusion, the song really comes across more as a dramatic/cinematic prog song akin to the music being made below the border by bands like The Eloy and Grobschnitt. This flow and constancy of this song is making it seem as if the band is trying to create a suite of Eloy-like space/psychedelic music. (8.875/10)

4. "Astarte" (6:28) the theme/suite continues, here developing into a futuristic smorgasbord of synthetics and odd associates (Moog, sitar, electric guitars, reverb saxophones) over hypnotic drum and bass (though still more proggy than Kosmische/Krautrock). I like the slow and insidious build up of tension and volume over the course of the entire six and a half minutes. (9/10)

Side Two (The "French" Side):

5. "Solitude" (4:07) Side Two starts with a SATIE-like piano piece that is supported by some synth and bass. Obviously we're finished with the single-flow theme that was Side One. Pretty and filled with mystery and uncertainty, even frailty, it's a beautiful piece that serves well as a transitional bridge. (9.333/10)

6. "Tango-bourgeoise" (2:47) an odd piece--like something from Kitaro or Tomita in which the band attempts to render some classical piece via electronics. (8.667/10)

 
7. "Bellevue" (3:20) more silliness made possible through the use of electronics. Nice funk-rock rhythm track. Inspired by the musical explorations of Jean Michel Jarre? (8.75/10)

8. "Valse du soir" (1:55) accordion music! (Or have I been duped into believing that a synthesizer-generated sound is an accordion?!) I love this type of music (as well as the accordion) but should I be impressed or perturbed that this sits pretty on a supposed-Jazz-Rock Fusion (or progressive rock) album? I guess Yes' seminal Fragile album gave rock artists a lot of license, grace, and leeway. (9/10)

9. "Outro" (5:06) back to the hard-driving ELOY-like space rock. Awesome foundation from the rhythm section--as well as awesome play from them--especially Jess Staehr and Ole Streenberg. The interwoven synths, guitar, and sax solos are nice, too. (9/10)

Total Time 36:37

The least Jazz-Rock Fusion of this band's supposed Fusion output. I've read that the band was literally recording the material for this album at the same time as that for Krakenhaus--sometimes splitting their days and nights between the two! Perhaps that is how/why this album comes across as 

89.13 on the Fishscales = B+/four stars; an excellent display of two-sided split personalities: the Germanic Space/Psychedelic Prog of Side One and the ambiguous Gallic themes of Side Two. Definitely recommended to all prog lovers.

TERJE RYPDAL What Comes After (1973)

Recorded August 7 & 8, 1973 at Arne Bendiksen Studio, Oslo and then released by ECM Records late in 1973.

Line-up / Musicians:

- Terje Rypdal / guitars, flute

- Barre Phillips / double bass, piccolo bass (B2)

- Sveinung Hovensjø / electric bass

- Jon Christensen / percussion, organ (B2)

- Erik Niord Larsen / oboe, English horn

A1. "Bend It" (9:52) a hypnotic electric bass line playing ad infinitum, drumming that is mostly rim shots and cymbal play, all supporting experimental electric guitar note play (with some background rhythm guitar work on its own track). Bowed bass (or the like) appears from time to time to thicken the soundscape (and distract the listener). I respect Terje's experimental instincts, I just don't find myself attracted or attaching to any of his melodies. It ends up feeling more like an Eyes Wide Shut orgiastic experience of watching someone masturbate in the middle of a room of masked onlookers. (17.5/20)

A2. "Yearning" (3:21) acoustic guitar, double bass, oboe, and metal percussion flit and fly around inside the large planetarium, soaring up toward the night-skyed dome, sometimes coming to rest while the others continue their curious search for freedom. (8.75/10)

A3. "Icing" (7:48) More of a bass exposition than guitar as Barre Phillips and Sveinung Hovensjø occupy the majority of the spotlight on this one. Terje and Erik Niord Larsen's oboe do get some solo time, however, with the former's being an exhibition of volume-pedal-modified descending scale arpeggi. I have to admit, this one is easier to like (and tolerate) than the melody-less stuff of his other songs. (13.375/15)

B1. "What Comes After" (10:59) Jon keeping time through rim taps on his snare drum while slow-strummed electric guitar chords, bowed bass and oboe, and even electric bass add their little riffs and flourishes to the thin, echoey space offered in the cavernous studio. (The first half of this song has a lot in common with Jan Akkerman's guitar play on his and Kaz Lux's Eli album. Perhaps it was a big influence on Jan?)

     I find myself much more relaxed and tolerant of this song that the previous three--at least until the sixth minute when Terje's two guitars start to stretch, bend, and tear at the fabric of space-time. I'm just not a fan of this kind of free-form, noise-for-noise's sake music. It's almost not music for me since music, for me, is something that evokes joy and pleasure, not agitation and discomfort. Chromatic scales or complete disregard for Western melodic sensibilities just don't work as well for me and my puny little brain as major seventh chords. (17.5/20)

B2. "Sejours" (3:51) a very beautiful VAUGHN WILLIAMS-like duet between Erik Niord Larsen's oboe (on multiple tracks?!), and Barre Phillips' piccolo bass with a little of Terje's flute and Jon Christensen's organ create a weave that feels much more 20th Century classical than jazz (or rock). (9.75/10)

B3. "Back Of J." (4:17) Barre Phillips opens this with a melody line similar to that of Rodrigo's famous "Adagio" from his Concerto for Aranjuez soloing for the best part of the song while Terje offers some steel-string acoustic guitar flourishes and, later, runs here and there (and Jon some cymbal crashes every 30 seconds or so). Terje's acoustic guitar play becomes more animated, dynamic, and dominant in the middle of the song as Jon begins to add a lot of thunder-like tom (or timpani) work around the soundscape but Barre gets to finish the song. (8.875/10)

Total Time: 40:37

Interesting experimental, eclectic jazz using some electric instruments and a lot of space. This is not as Jazz-Rock Fusiony as I'd like but I do appreciate Terje's attraction to pushing the boundaries of expression through his guitars and new guitar sounds. The best news with regards to this release is that there is NO JAN GARBAREK (or saxophone!) present: nobody to encourage or indulge Terje's instincts toward obtuse spacey "music" (though he manages to accomplish much in this vein throughout the course of these songs).

89.12 on the Fishscales = B/four stars; a solid contribution of experimental guitar and 20th Century classical music-influenced jazz work but not much of an addition to any lover of Jazz-Rock Fusion.

FUSIOON Fusioon 2 (1974)

Sophomore album release from this jazz-rock-oriented quartet from Barcelona, coming two years after their debut, finds the band members each exploring expanded sound, engineering, and stylistic options.

Line-up / Musicians:
- Santi Arisa / percussion, drums
- Jordi Camp / bass
- Marti Brunet / guitar, synthesizer
- Manel Camp / piano, organ

1. "Farsa Del Buen Vivir" (3:08) Vocals! Delivered in a choral style akin to many RPI bands of the day. interesting song that almost previews the some of the quirky post-punk New Wave structures, styles and sounds. Like The Buggles or The Knack! I also find this song sounding much more like the progressive rock coming out of Italy at the same time. (8.875/10)

2. "Contraste" (6:32) again the RPI comparisons come screaming out of this mathematical keyboard-based song (LE ORME, PFM, BANCO). Nice guitar sound chosen by Marti for his solo. Though Jordi Camp continues to play a mean bass as he did on the band's first album, the effects he is choosing to use here mute and diminish its input a bit, which is a bit sad to me. Still, the branching out of keyboard sounds coming from Manel is fun. In the fifth minute there is a transition to a more martial sound and structure for a bit before another sharp turn takes us into some more pop-punk and theatric math rock for some great bass and drum play. The finish is again all RPI--like a replication of Banco Del Mutuo Soccorso. (8.875/10)

3. "Tritons" (8:15) again the ELP/BANCO keyboard sounds play above the fast-driving RPI rhythm track. These guys are so good! The first 2:36 is all dynamic organ play (exuberant Manel making noises come out of his organ that I've never heard), but then the band turns down a cautious road (and into the nave of a large church) before coming out on the streets of a county/regional fair. The folk/classical melodies and harmonic structures coming out of this must surely be an homage to some local Catalan traditions 9this despite the song's subtitles' claim that there is some kind of connection to Tchaikovsky). Had I been hearing this for the first time in 1974 I would have been so impressed and excited! Especially to that first section, "1a parte." (18.333/20)

4. "Dialogos" (6:42) synth generated wind sounds with lots of insect- and/or small rodent-like scurrying sounds coming from Santi Arisa's percussion toys. In the second minute the organ enters, presenting a simple motif which is then backed by the rest of the band until settling into a rock motif that supports the RPI-like group choral vocals and lone voice of the sane leader with Manel and Marti injecting plenty of odd riffs from their synthesizers and heavily-effected electric guitar. The keyboard foundation is a little disappointing for its simplicity, but it allows for the time signatures to be manipulated by Santi and Jordi's rhythm tracks. It's an interesting composition rendered impressively through these fine musicians but yielding a product that is kind of boring and dull in comparison to their jazzy music of the previous album. (8.75/10)

5. "Concerto Grosso" (9:52) like their Mediterranean neighbors, the Italians, Manel and company have chosen to fuse the exciting new sounds and technologies that electricity and studio engineering have made available to them with their beloved training in Classical Music. Unfortunately, this wholly-understandable choice serves more to render the song (and album's music as a whole) as "just another Italian progressive rock band" . . . and they weren't even Italian! The slow middle section is just too long and drawn out (and lacking any punch or theatric highs) and then the final instrumental passage sounds just like another RPI foray into the bizarre psychedelia of the carny-like human experience. There are a lot of complex intricacies to the structure that require a lot of skill to perform convincingly, but they're just not as interesting or impressive as straight-vamp/jam noodling. (17.5/20)

Total Time: 34:29

This is an album of surprising music for the fact of where the band was on their debut album and for the fact of the very firm and sincere joinder to the RPI camp of musical interpretation of the "progressive rock" directions evolving at this time.  

89.05 on the Fishscales = B/four stars; an excellent and serious attempt to appropriate the exciting new world of progressive rock, albeit from the Italian perspective.

DICK HECKSTALL-SMITH (Dust in the Air Suspended Marks the Place Where) A Story Ended (1974)

Nice album title. For all intents and purposes, on paper this album reads as just another Colosseum album--or, at least, an offshoot album, the only member of the previous album and successive tour being guitarist David Clempson. The album was recorded in March and April of 1972 at The Manor in Oxfordshire and then released by Bronze Records in June of 1972.

Line-up / Musicians:
- Dick Heckstall-Smith / tenor & soprano saxes
With:
- Paul Williams / vocals (2, 4, 6)
- Chris Farlowe / vocals (5)
- Caleb Quaye / electric & acoustic (2, 4) guitars
- Chris Spedding / guitar (5)
- Graham Bond / organ (3, 5), vocals (3), piano (4), Moog (5)
- Dave Greenslade / piano (2)
- Gordon Beck / piano (4)
- Mark Clarke / bass, vocals (1, 3)
- Rob Tait / drums
- Jon Hiseman / congas & bongos & maracas (2), drums (5), production

1. "Future Song" (4:06) almost hard rock--even the vocal (courtesy of bassist Mark Clarke) is unusually aggressive--especially for something that is supposed to be grounded in Jazz-Rock Fusion. (This is more like Jazz-Rock if anything on the Jazz fringe.) The sax play of bandleader Dick Heckstall-Smith is, of course, supposed to be the featured element of this album, and it is quite prevalent--as is the work of electric guitarist. Powerful, an okay song, but by no means a contribution to J-R Fusion. (8.75/10)

2. "Crabs" (5:12) piano, bass, and drums support vocalist Paul Williams (and Dick's tenor sax) in a Dr. JOHN/LEON RUSSELL/TOM WAITS-like song and vocal performance. When the music moves into upbeat, uptempo mode for the choruses it sounds much more like the music of DAVID CLAYTON-THOMAS-led BLOOD, SWEAT AND TEARS (without the banked horns). Nice creative jazz-rock. (8.875/10)

3. "Moses In The Bullrushourses" (3:41) another song that sounds right out of the Blood, Sweat & Tears or early Joe Walsh catalogue of music. Vocalist Graham Bond gets a little lost and drowned out by the thick weave of music in which he sings. Nice group background vocals from Mark Clarke and Graham (on a second track). Graham's organ play is quite animated as well. (8.75/10)

4. "What The Morning Was After" (5:30) opens sounding like a variation on the opening to John Coltrane's "Acknowledgement" from A Love Supreme. But then the song restarts at 0:35 as an acoustic guitar-based early STEELY DAN-like tune (think "Doctor Wu"). At 2:35 there is even a cool shift into an uptempo BLOOD, SWEAT & TEARS/RICHIE HAVENS-like motif (reminding me very much of the first vocal motif and melody line in Steely Dan's "Aja"). A very cool song that I like very much for its idiosyncratic (and eclectic) construct and melody lines. (9.3333/10)

5. "The Pirate's Dream" (11:09) the only song with drum virtuoso Jon Hiseman sitting behind the drum kit. Chris Spedding is also a contributor to this heavy rocker with both prog and jazz-rock tendencies. Next to vocalist Chris Farlowe and bassist Mark Clarke, Dick is the busiest and most impressive performer on this odd journey of a song. The group vocals are also impressive and Graham Bond's presence as organist and Moog contributor is also notable and appreciated. (17.75/20)

6. "Same Old Thing" (6:41) an old-time swamp blues guitar beginning eventually is joined by drums and bass and Paul Williams' gravelly blues rock voice. Dick starts to sneak his sax into the spaces between verbal phrases in the way a blues guitarist does (and Caleb Quaye does in the channel opposite Dick). The tempo and motif switches a little at the two-minute mark and then, less than a minute later, Paul rests, making room for Caleb's classic jazz-blues-rock guitar to solo. Dick takes the next solo starting at 3:48: smooth and melodic with some nice, very solid bass and drums beneath him until the 4:37 mark at which time a second (and third?) saxophone joins in to play off of, take over from, and supplant the previous track. Paul returns to screech and scrawl out the songs finale JOE COCKER style. Very adroitly and creatively done, just not my kind of music. (8.875/10)

Total time: 36:19

I can see (and hear) the reasons for the respect if not love for this album as the musicianship is always at a high, high level and the songwriting is wonderfully creative. This is just not the kind of music that has ever turned me on. 

89.05 on the Fishscales = B/four stars; an excellent addition of blues- and jazz-rock-dominated music rendered by an assortment of highly-skilled musicians.

RADOMIR "TOCAK" MIHAJLOVIC R. M. Tocak (1976)

Smak leader and guitarist Radomir "Tocak" Mihajlovic goes solo (even though his support band here is the complete complement of his band, Smak).

Line-up / Musicians:
- Radomir "Tocak" Mihajlovic / guitars
With:
- Lazar Ristovski / keyboards
- Zoran Milanovic / bass
- Slobodan Stojanovic "Kepa" / drums

1. "Oro" (2:34) a very sophisticated/demanding whole-band noodling exercise using Middle Eastern melody lines to extract the skillful displays of virtuosity from all of the band members. (9/10)

2. "Aria Daimond" (6:35) sophisticated chord play from Tocak and organist Laza Ristovski opens this for the first 45 seconds before drummer Slobodan Stojanovic ("Kepa") and bassist Zoran Milanovic jump on board to serve up some Blues-Rock fare for Tocak to show off his prodigious skills over. I have to say that everybody in this quartet shows considerable skill--you have to in order to render the subtly-designed rhythms and melody lines that the composer (Tocak) has proscribed for them. (9/10)

3. "Svrabe? (Boom '76)" (5:31) using a little Ohio Players funk to ground this R&B masterpiece, we get to hear some more excellent instrumental work from Laza and Zoran in this multi-motifed song (the second of which is quite the show case for "Kepa"'s skills as the band goes full-on hard rock so that Tocak can shred like a guitar god. In the middle of the song the band drops away to watch Tocak work tout seul on his rock electric guitar shredding--a stretch that takes us to the end of the song! Yes: two minutes of isolated electric guitar shredding! I'd rather have heard the full band version for the entire length of the song. (8.875/10)

4. "Neki Paraziti" (3:08) more great skills display--from all four--as each adds their own special spice to the funky-rock mix. What a great thing funk has been for Rock 'n' Roll! Laza's organ (and other keyboard) work is awesome but then so is Zoran's bass, Kepa's drumming, and Tocak's guitar playing. The only thing missing are some catchy hooks or earworm melodies. (8.875/10)

5. "Organizam Blues" (7:05) opening as the EAGLES/LYNYRD SKYNYRD-like four-chord blues-rocker that it becomes, kind of plodding along while Tocak solos like the Eagles or Skynyrd tandems (only, I assume, by himself--on two separate tracks). The skills are fine though I hear very little (like none) of Laza and very little is asked of either Zoran or Kepa: it's just a vehicle for some nice twin-guitar soloing. Tocak never really ascends to the adrenaline-generating heights of the two tandem teams I've compared him to but there's nothing poor or insufficient either. (13.25/15)

6. "Modifans" (4:30) a rather soul-less vehicle for more guitar skill display. Repetitive and relatively melody-less blues-based music though impressive from a guitar fan's perspective. Reminds me of how I hear and receive Dixie Dregs music. (8.875/10)

Total time 29:23

I really consider this music far closer to Rock 'n' Roll's registry of Hard Rockers or even Blues Rockers. I think the only reasons that one might even consider this music for Jazz-Rock Fusion would be the purely instrumental nature of the music as well as the high-level skillsets of the band members; there is very little Jazz emanating from these songs, more of a Dixie Dregs and/or Cream vibe than Mahavishnu or Headhunters.

89.04 on the Fishscales = B/four stars; an excellent display of musicianship (and composition) that is, unfortunately, lacking something (besides content: it's less than 30 minutes in length). Recommended for lovers of great electric guitar play; less so for those seeking something more.

MICHAEL MANTLER The Hapless Child and Other Inscrutable Stories (1976)

An unusual yet fully-progressive undertaking of setting literary stories to music using jazz-fusion artists.

Line-up / Musicians:
- Carla Bley / vocal, keyboards
- Robert Wyatt / vocal
- Terje Rypdal / guitars
- Steve Swallow / bass
- Jack Dejohnette / drums
- Alfreda Benge / speaker
- Nick Mason / speaker
- Albert Caulder / speaker

1. "The Sinking Spell" (4:40) Robert Wyatt's distinctive voice enters with some effect applied while the four musicians, Steve Swallow, Jack DeJohnette, Carla Bley, and Terje Rypdal apply their talents to constructing a loose and reactive soundtrack to Robert's rendering of this Edward Gorey story. Terje is particularly flamboyant (almost in a Steve Hackett way!) while Carla, Steve, and Jack are pretty dynamic in their own right. Perhaps Robert's best, most unique performance on the album and maybe the best collective Jazz-Rock Fusionary exposition as well. (9.125/10) 

2. "The Object Lesson" (5:00) piano, bass and swelling cymbal crashes back Robert's rather flat/monotone delivery of this story. Eventually the musicians fall into a kind of groove with Jack DeJohnette's rock drumming and Terje Rypdal and Carla Bley's Canterbury organ saw-like expressions. The music is not great, not fully-formed or composed for much other than dramatic support, but it works (it's better than the story being told). (8.75/10)

3 "The Insect God" (5:00) some truly top-notch Jazz-Rock Fusion is used to present another sobering and not-for-children's-ears story. The music quartet of Bley, Rypdal, Swallow, and drummer Jack DeJohnette are all on the same page of aggressive and insistent delivery while Robert and spoken-word "backing vocalists" render their fast-talking approach to dramatic story-telling. (8.75/10)

4 "The Doubful Guest" (4:45) finally! some thoroughly-composed music! It's a challenging weave of off-timed hi-speed drum and keyboard music in which Steve and Terje contribute long-held, pensive notes on their respective instruments. All the while Robert delivers a near-spoken word story with a little more flair and enthusiasm than the past two. The overall weave really works--has no glaring flaws or inconsistencies. I like the way the musical performances ramp up toward the end: especially Terje's guitar shredding and Carla's breadth of synth strings chords. (9.125/10)

5 "The Remembered Visit" (6:25) voice with syncopated bass and synth-strings pulses, adding piano and Mellotron "ooo"s and "aaah"s, then treated electric guitar notes and some background drumming. In the third minute the drums and bass play get more animated--still orchestral and reactive, though, more than "song" oriented. Where Robert's delivery starts out dramatic and engaged, it begins to sound a bit like rote reading in places. But then things slow down for the background vocal-supported passage in the fifth minute--which has the effect of seeming to bring Robert back into the spirit of the story. From there out he feels fully-present in his story-telling. Effective. (8.875/10)

6 "The Hapless Child" (7:00) Robert Wyatt's distinctive voice and vocal/story-telling stylings are here backed by music that feels more like theater music: it's incidental and yet has a personality all its own--as if taking on the characteristics of Robert's story's characters. Nothing is flowing or timed, almost all of it feels impressionistic and reactive more than composed and prescribed. There is one theme that feels prepared: the whole-band motif that starts at 2:58 when Robert starts singing about the start of Charlotte Sophia's boarding school experience, but at 4:20 everything devolves to simple piano--just before launching into a more dynamic and drum-and-guitar-driven theme. What a horrifying Dickensian tale! Carla Bley's odd chord choices hold the whole thing down but it's Steve Swallow's obtuse bass notes and Terje Rypdal's sharp, stinging guitar notes that bring forth and amplify the Poe-like atmosphere of the story. Wow! What an experience! Definitely not your typical bed-time story! Even children's theatre would be scarred and marred for decades if they brought children in to hear this one! Still, it is a rather powerful and effective delivery mechanism. (13.25/15)

Total Time:

I have to admit that I was not prepared for either the album's total dedication to story telling nor it's dark and rather dismal, even desolate, Dickensian/Brothers Grimm/Edgar Allen Poe story lines. While I love the literate nature of the stories, I'm a bit disturbed by their unsettling subject matters. At the same time, I appreciate these adventurous musicians for their commitment to the expansion of that which music and Jazz-Rock Fusion can do. 

89.04 on the Fishscales = B/four stars; though admirable to take on such an odd and ambitious undertaking, I feel that the stories and music do not always match as well as the artists/producers may have wanted. Nor are the instrumental performances and song/soundtrack compositions as polished and coordinated as well as one might expect or desire from this stellar line-up.

WIGWAM Fairyport (1971)

The the this is the founding quartet's third album since forming in 1968, it is their first to fully satisfy all of the requirements of inclusion into the Jazz-Rock Fusion and/or Progressive Rock music categories. Their version of jazz-rock fusion is far simpler, far more melody-driven and even pop-friendly than the stuff coming out of Herbie Hancock or the Mahavishnu Orchestra.

Line-up / Musicians:
- Jukka Gustavson / vocals, acoustic & electric pianos, organ
- Jim Pembroke / vocals, harmonica, piano (2, 12), electric piano (14)
- Pekka Pohjola / bass, violins, acoustic guitar (10), piano (8-9), celeste & harpsichord (9), backing vocals (3)
- Ronnie Österberg / drums, congas, percussion, backing vocals (3)
With:
- Jukka Tolonen / guitar (2, 7, 13)
- Eero Koivistoinen / soprano saxophone
- Pekka Pöyry / soprano saxophone
- Tapio Louhensalo / bassoon
- Risto Pensola / clarinet
- Hannu Sexelin / clarinet
- Unto Haapa-aho / bass clarinet
- Ilmari Varila / oboe

1. "Losing Hold" (7:06) though the whole band plays tight, cohesive music throughout this song, it is the Canterbury-like keyboards of Jukka Gustavson that lead and draw the most notice. The lead vocals (assuming they're by Jim Pembroke due to their being English) are quite similar to those early vocals of prog icons Peter Gabriel and Roye Albrighton. I love the melodies of this song if not-so-much the bluesy-organ-rock style. Prog Hall-of-Famer Pekka Pohjola's bass prowess really shines in the instrumental second half. (14.25/15)

2. "Lost Without A Trace" (2:29) delicate vocal with piano accompaniment--all by Jim Pembroke. (8.75/10)

3. "Fairyport" (6:53) theatric Elvis Costello-like vocals over piano with the combo in relatively sedate attendance; this is truly a pop song. It's not until the 2:20 mark when a lounge-jazz piano style takes the band into a lounge jazz style not unlike that of Vince Guaraldi. When the lead instrument becomes a dirty organ at 3:25 the music turns full blues-rock--old blues rock. Too bad. Luckily it turns another corner at 5:05 into a. chamber/folk type of music with oboe and clarinet before reverting to the Elvis Costello motif for the final minute. (13.5/15)

4. "Gray Traitors" (2:48) a song that starts out sounding very much like a vehicle for one of PeterGabriel's weird little stories, eventually turns symphonic instrumental for the next song to continue. (8.875/10)

5. "Caffkaff, The Country Psychologist" (5:22) piano and voice, with the piano chords following the vocal melody almost note for note--at least for the first 90 seconds. Then organ joins in but can't quite extricate the main melody/motif from those note-for-note piano chords. It feels more like a bare-bones practice for a song intended for a stage musical. At 2:39 the percussion and electric piano, then organ, try to hijack the music over to a jazz idiom--unsuccessfully for the first 45 seconds but then accomplished, moving the mood into a more DAVE BRUBECK "Take Five" like motif. Pekka's bass playing finally gets to shine a little bit despite the three keyboards maintaining dominance over the solos. (8.75/10)

6. "May Your Will Be Done Dear Lord" (5:28) this one seems to be based over a CAROLE KING-like piano chord progression. Organ, flute, bass and drums are not, however, being forced to follow along--are given freedom to fill space with their own melodious lines. The vocal is more plaintive, less confident and theatric. The sax and other wind instruments' contribution in the fifth minute is awesome! A very engaging song that ends up being a bit too loose and unpolished for high marks. (8.875/10)

7. "How To Make It Big In Hospital" (3:01) The band's attempt at either the Rolling Stones or Velvet Underground?! Nice bass work from Pekka. (8.6666667/10)

8. "Hot Mice" (3:19) a very nice, melodic lounge music that has the trademark changes of late 1960s Broadway musical--like Steven Schwartz or Burt Bacharach. (9/10)

9. "P.K.'s Supermarket" (2:20) polka style rhythm tracks over which barrel-hall piano plays. Sounds very French--though it's also very light and happy-go-lucky. I really like this! (4.75/5)

10. "One More Try" (3:26) more music theatre storytelling with voice paired up with piano, chord for chord. It's engaging and intimate, but then after the 1:30 mark the music takes a turn into post-Beat jazz with congas and Hammond organ being accompanied by drums and Pekka's great bass play. At the end of the third minute the music switches back to the opening motif but stays instrumental--never returns to vocal message-carrying. (8.875/10)

11. "Rockin' Ol' Galway" (2:27) sounds like something from Dr. John or the quirkier side of Peter Gabriel ("Counting out Time," "La Dolce Vita," or excuse me) as well as something like but too melodic and pretty for Frank Zappa. Once again Pekka Pohjola's bass play is quite remarkable. (8.875/10)

12. "Every Fold" (3:07) multiple voice vocals carry this tune over piano, bass, and drums. Distant organ and heavily-effected NEKTAR-like voice join in the background during the second minute. It ends up sounding almost like a BEATLES song. (8.75/10)

13. "Rave-Up For The Roadies" (17:20) * now this is different: the band really jamming like a JIMI HENDRIX EXPERIENCE song--for seventeen long guitar-dominated minutes (raunchy electric guitar play courtesy of guest Jukka Tolonen). Though multi-themed and not too far off from the sound and musical style of the PINK FAIRIES, this is really not my cup of tea. (30.33333/35)

* Recorded Live at Hämis Club, Helsinki, 6th June 1971

Total Time: 65:35

88.94 on the Fishscales = B/four stars; an excellent progressive rock album; I'm not going to be able to include this in my Jazz-Rock Fusion lists due to its much greater pop-orientation. This is more like a cross between lounge jazz, 1960s Off-Broadway Music Theater, and Canterbury Style: playful, melodic music for the masses. 

CHUCK MANGIONE Feels So Good (1977)

One of the sages of popular Jazz, Chuck finally receives his due after being the mentor and launching place for so many young artists. The chart-topping album (containing all-original compositions by Chuck) was aided by the three-minute edited version of the albums' title song, which also topped charts around the world in the winter of 1978. Feels So Good was recorded and mixed at Kendun Recorders in Burbank, California, and then it was released by A&M Records on December 8, 1977.

Line-up / Musicians:

- Chuck Mangione / flugelhorn, electric piano
- Chris Vadala / saxophones [soprano, alto, and baritone], flutes [piccolo and alto]

- Grant Geissman / guitars [electric, acoustic, 12-string, and classical]

- Charles Meeks / bass

- James Bradley, Jr. / drums, congas, timbales

A1. "Feels So Good" (9:41) Ahh! The long version! What a melody, what a horn player, what a song!  The rhythm guitar is bit white toast and the discofied bass and drum lines a bit schlocky but this Smooth Jazz hit is definitely a landmark for people and music. (#1 on the Billboard charts!) While I've never really liked the chorus, the verses are awesome, and Grand Geissman's lead guitar play/solos are quite iconic. I'm thankful for the radio edit cuz, at almost ten minutes long, it overstays its welcome a bit (though that New Orleans jazzy eighth minute is a bit of a highlight). (17.875/20)

A2. "Maui-Waui" (10:12) the B-side of the "Feels So Good" hit 45 rpm, it's smooth and gentle, definitely befitting the newly-emerging "Yacht Rock" medium. I can picture this one being played/performed under some tiki hut cabana in Florida during one of my Spring breaks there. Great background outdoor bar music. The blend of performances is so perfect and all so creatively nuanced (though the occasional travels across the toms by drummer James Bradley seem a bit over the top). Nice to hear Chris Vadala on the flutes and saxes. The song, however, really serves best as nicely-calming background music, nothing more. (17.5/20)

A3. "Theme From 'Side Street'" (2:03) opening with some wah-wah-rhythm guitar always gives me hope, and then the song develops into a great Latin Fusion piece that I really wish the band would have extended and continued developing. Awesome! (5/5)

B1. "Hide & Seek (Ready Or Not Here I Come)" (6:30) opens with some odd pulses of sound combinations, moving from one chord to another and then beginning a bounce around as Disco drums and funk bass and electric piano join in. Nice! Chuck's reverb-treated flugelhorn joins in after 90 seconds of establishing the main parameters of the song, sounding as if he's trying to blast through Herb Alpert's Lonely Bull. A minute later he stops and there are a series of brief but excellent solos from the electric piano, Chris' soprano sax, back to the electric piano, and then Grant's rather bare but twangy electric guitar. (As I hear all of these solos with their echoey reverb field I begin to understand that perhaps all of the lead instruments are being equally treated with a certain large-field reverb). Nice tune. (9.125/10) 

B2. "Last Dance" (10:56) [note: this is not a cover of the award winning massive hit song by Donna Summer as some may expect] opening with some gently played long-held alto sax notes back by a bed of very spacious electric piano and guitar chords and notes, this one presents itself as something sleepy from/for the Latin world. In the second half of the second minute the song changes as Chuck's flugelhorn enters: the band seems to rally with a syncopated and staccato progression of chords traveling at a snail's pace beneath him. Other solos ensue including Grant's acoustic guitar, Chris' alto and baritone saxes. Unfortunately, the main melody sounds like a dramatically slowed-down variation of the main melodies of the album's opening song, "Feels So Good." Though not quite as innocuous as the excellent background music of "Maui-Waui" it is also not nearly as engaging or dramatic (much less dynamic) as the album's title song--making it wallow around somewhere in the friend zone: being not quite worthy of one's full attention but too staccato and nuanced to be relegated to elevator music. (17.333/20)

B3. "The XIth Commandment" (6:36) opening with a dramatic cinema-appropriate melody line and likewise-suitable "orchestra"-like support that sounds like something to a Spaghetti Western, the song switches, after Charles Meeks' lonely solo bass line bridge in the second half of the second minute, into something more mysterious with its Latin skin drums working their way into support of Charles' bass before Chuck and the others join in around the three-minute mark. At this point it's still feeling 100% like film soundtrack music but then, at 3:30 with James' switch to the drum kit and Charles' switch to a slap-bass approach, the pace peps up into something kind of pseudo-funky and nearly-Latin for Chuck and Chris to share and trade solos among the group's syncopated hand clapping and percussion fills--this before a big Hollywood symphonic ending. Weird song! (8.75/10)

Total Time: 45:58

88.92 on the Fishscales = B/four stars; an excellent collection of "different"-sounding Disco-era Latin-pop Jazz-Rock. 

BILL COSBY Bill Cosby Presents Badfoot Brown & The Bunions Bradford Funeral & Marching Band (1971)

I'd known since I was a little kid that Bill Cosby loved music--that he championed a lot of jazz and funk music and artists--especially since his television shows (I Spy, Fat Albert & The Cosby Kids, and 

Line-up / Musicians:
Rhodes Piano: Bill Cosby
Piano: Gildo Mahones, Walter Bishop
Organ: Stu Gardner
Guitars: Mel Brown, David Sprattling, Freddie Robinson, Arthur Adams
Bass: Monk Montgomery, Ron Johnson, Darryl Clayborn
Drums: Stix Hooper, Jimmy Smith, Ndugu Leon Chancler, Paul Humphrey
Congas: Big Black
Timbales: Willie Bobo
Saxophone: Joe Henderson, Bobby Jones, Rudy Johnson

Trombone: George Bohanon
Vocals: Stu Gardner (on tracks 2 and 5

All tracks are written by Bill Cosby.

1. "Martin's Funeral" (15:30) a long studio jam using a progression of four delightfully upbeat chords for the ensemble to feed off of. It is, I have to admit, eminently enjoyable: I can imagine the vibe in the room as it was going on--even to the point that I can imagine myself there jamming with the gang. How fun! Perhaps not a stylish or ground-breaking Jazz or Fusion song but definitely the capture of a fun event (at which the percussionists/rhythmatists seem to have the most fun as the melodists work to keep some sense of musical "development" flowing. I love the tenth and eleventh minutes when the drummers take over and lead the song back into forward movement. By the time the 12th minute comes around Bill's original four chord keyboard progression is getting pretty old. Luckily, the keys vacate in the 13th minute to allow some odd (muted trumbone? wah-wah-ed organ or electric guitar) sounds and percussion instruments to have at it, but it does come back to the keyboards to play those four chords for the final two minutes. (26.5/30)

2. "Hybish Shybish" (20:15) opens with electric guitar and bass, both fast-picking in their upper registers. They are soon joined by piano and percussion instruments, establishing two nearly-the-same chords to be the mainstays for another vamp as various instruments flit and flicker into and out of the song. In the third minute the drummers and rhythm section establish a nicely-paced groove over and within which the rest of the musicians can all contribute freely: pianists, guitarists, percussionists, and, eventually, horn players.  Overall, this song feels a bit more polished and worked out than the album's other one; a satisfying representative of Jazz music. (35.75/40)

Total time: 35:43

88.93 on the Fishscales = B/four stars; an enjoyable display of modern electrified Jazz musicianship displayed over some very simple musical structure. 

SANTANA Santana 3 (1971)

Recorded in the Bay Area over the course of several months, from January and February of 1971 with final touch ups and overdubs occurring in June, all at Columbia Studios in San Francisco. The officially-untitled album was released by Columbia on September 24, 1971.  

Line-up / Musicians:
- Carlos Santana / guitars, vocals
- Neal Schon / guitar
- Gregg Rolie / organ, piano, vocals
- David Brown / bass
- Michael Shrieve / drums, percussion, vibes
- Michael Carabello / congas, tambourine, percussion, vocals
- Jose 'Chepito' Areas / drums, timbales, congas, percussion, flugelhorn, vocals
With:
- Rico Reyes / lead (6) & backing (2, 4, 9) vocals
- Coke Escovedo / backing vocals, percussion
- Linda Tillery / backing vocals (5, 8)
- Mario Ochoa / piano (6)
- Tower Of Power Horn Section / horns (5)
- Luis Gasca / trumpet (9)
- Gregg Errico / tambourine (2)

1. "Batuka" (3:35) this Carlos original starts out sounding like a Latin jamboree before displaying the guitar tones and stylings of one of John McLaughlin's breakthrough Power Fusion songs, but then it turns into something that sounds more akin to a John McLaughlin celebration of/tribute to Jimi Hendrix. The guitar shredding is powerful, I only wish that the percussionists were feeling it as much as Carlos, Neal, and Gregg are. (8.875/10)

 
2. "No One to Depend On" (5:31) a Latin Rock contribution from Coke Escovedo (of the famous East Bay musical family and Azteca renown) and current Santana member, Michael Carabello, it sounds like a combination of "Oye cómo va," "Evil Ways," and a Hendrix tribute jam. The chant vocals are cute, the guitar soloing fiery, the percussion-based rhythm track solid if a bit boring. (8.875/10)

3. "Taboo" (5:33) a Greg Rolie-Jose Areas collaboration, it is Latin-infused but really serves more as a Santana jam song (with some cool Motown-like bass and drum play)--over which the two guitarists seem to be trying to out-Blues-Rock (Hendrix & Clapton) each other. The guitar play, I have to admit, is pretty amazing: pretty passionate, but the rest of the song is kind of forgettable--kind of "standard Santana." (8.875/10) 

4. "Toussaint L'Overture" (5:54) a powerful jam song (a Carlos original) that gets everybody totally and fully committed (though David Brown, in my opinion, remains the band's weak link). I don't think I've ever heard Gregg Rolie play his organ with this much vim and vigor and the entire percussion corps sounds and feels totally engaged, totally enjoying themselves. There's also a bit of Nina Simone's "Don't Let Me Be Misunderstood" feel to both the main descending four-chord progression and main melody. Once again Neal and Carlos really go at it, duelling at full intensity throughout the second half of the song. (9.125/10)

5. "Everybody's Everything" (3:27) sounds like an old British Blues-Rocker from one of Steve Winwood's first bands, most likely The Spencer Davis Group (the chorus of "Gimme Some Lovin'"), but it's a Carlos composition that he penned with a couple of collaborators he had before the Santana project (Milton Brown and Tyrone Moss). Nice energy if feeling a bit dated (even for 1971), but I LOVE the group enthusiasm on display. (8.875/10)

6. "Guajira" (5:42) a collaborative product of "Chepito", David Brown, and Cuban vocalist Rico Reyes, the construct is definitely a prime example of Hispanic musical traditions (most likely Mexican) with the samba rhythm pattern and call and response Spanish vocals. I like it very much even if it sounds, at times, rather laid back and perhaps watered down for a wider (less educated) audience. (8.875/10)

7. "Jungle Strut" (5:20) there seems to be a growing pattern in Santana album construction with the more loose and wild songs taking their place on the second side of the albums, and this funky Gene Ammons (Chicago-born sax player from the 50s and 60s) song seems to fit the pattern perfectly: great spirited pacing from the rhythm/percussion players with brief fiery solos being traded among the guitarists and Gregg Rolie's organ. One of David Brown's more active and proficient bass performances, I feel his ability to play "the funk" is greatly hampered by his quiet, uneffected sound and mix. Still, a great song. (9.125/10)

8. "Everything's Coming Our Way" (3:15) a Carlos original that features the vocal assistance of Bay Area legend, Linda Tillery (who barely gets heard backing Carlos). As consensus chimes: this is a fairly boring, standard "immature" song--more demonstrative of an early motivated teenager (which may be where Carlos pulled this one from). (8.5/10)

9. "Para Los Rumberos" (2:46) the tradition continues as the band choose to end another album with a spirited percussion-dominated Hispanic song sung in group Spanish. Great spirit: everybody's engaged. (8.875/10) 

Total Time 41:03

This is an album that sounds like a tribute album to the great Jimi Hendrix who sadly passed away nearly a year to the date of this album's release. Hearing the nature of the songs on this album and learning of the recording and release dates for this album, I can only imagine the blow Jimi Hendrix's September 18 death (only a year before the September 24th release of this album). The addition of excellent Hendrix-imitator guitarist Neal Schon seems to push the band into a Hendrix-wannabe status that music lovers Carlos and Michael may actually have been seeking. This was, of course, before they heard The Mahavishnu Orchestra . . . .

88.89 on the Fishscales = B/four stars; a solid display of passion and improving skillsets, yet the compositional skill still lags behind the progress being made by the individual musicianship.

TEMPEST Tempest (1973)

After Ian Carr (Neucleus)'s Belladonna, guitar prodigy Allan Holdsworth finds himself lured off by Belladonna producer and Colosseum founder and drummer (and former John Mayall Bluesbreaker), Jon Hiseman to try out the power rock trio format ( . . . as a quartet). 

Line-up / Musicians:
- Paul Williams (John Mayall) / vocals, acoustic guitar, keyboards
- Allan Holdsworth / guitar, violin, vocals
- Mark Clarke (Colosseum, Uriah Heep) / bass, keyboards, vocals (6)
- Jon Hiseman (John Mayall, Colosseum) / drums, percussion, producer

1. "Gorgon" (5:44) here the quartet tries out the style and sounds of The Jimi Hendrix Experience. Though the song opens with 90 seconds of beautiful acoustic guitar chords being picked while Paul's heavily-effected voice give the music a very proggy psychedelic sound, once they establish the Experience sound they do a pretty good job! Paul Williams' lead vocal is actually quite like Jimi's and the music is solid with, of course, some great bluesy rock guitar work from Allan. Did I mention how great these guys blend as vocal harmonists? (9.25/10)

2. "Foyers Of Fun" (3:41) CREAM, RARE EARTH, with a little GRAND FUNK RAILROAD in the mix and some stellar rock lead (and rhythm) guitar work. This band is made up of four very top notch musicians who can pull off very high quality "reproductions" of other band's styles while still instilling their own talents, skills, and creativity to make them sound even better than the originators. (9/10)

3. "Dark House" (5:02) the first "weak" song on the album falls short not due to poor performances or sound but for the sake of being long and overly-drawn-out with no real relief or high points. (8.75/10)

4. "Brothers" (3:37) a little funk in this melodic rocker. Great drumming, rhythm guitar work and group vocals with Paul's Richie Havens-like lead. The problem is that the gospel-blues-like stops and slow downs are a bit disruptive to the overall flow and power of the music. Great little guitar solo in third minute. Not a particularly great or memorable song, but that musicianship! (8.875/10)

5. "Up And On" (4:19) Paul's David Clayton Thomas voice sings over a pretty standard rock anthem. Great performances from all--especially Jon Hiseman (who is quickly climbing in my esteem of all-time great prog/rock/J-RF drummers). Again, this is not necessarily anything to write home about, but the musicianship is amazing--earning it extra points. (8.875/10)

6. "Grey And Black" (2:29) sounds like STYX before Styx had really evolved into the Styx sound that Styx has become known for.  (4.375/5)

7. "Strangeher" (4:07) blues/blues-rock on the level with and in the style of ZZ TOP. Impressive but not my cup of tea. (8.667/10)

8. "Upon Tomorrow" (6:41) Allan plays the violin! And he plays it well! The accompanying jazz-rock music is awesome if a little rudimentary. Luckily they have Jon Hiseman to fill in all the spaces with plenty of drumming awesomeness. (Plus, a track of Allan's rhythm guitar and a joinder in the third minute of Allan on lead guitar in place of the violin). The rockin' vocal second half of the song is okay with Paul's Richie Havens-like vocal performance being a highlight more than the music and other band members' performances. (8.875/10)

Total Time: 35:00

There is no doubt that these guys could easily have made a career at this power rock format: they are so talented and so good at making every minute of their songs full of clever and skilled creativity.

88.89 on the Fishscales = B+/4.5 stars; an album displaying some truly astonishing musical skills! I have to admit that this album would most certainly have earned higher marks had the music been more in the styles that I prefer.

WIGWAM Being (1974)

The Finnish band's fourth studio album but first since several members had flown off to try solo projects of their own (Pekka's 1974 release, Pihkasilmâ Kaarnakorva being the most notable). A collection of songs that show the band members' (Jim Pembroke's) movement away melodic, mainstream music theater toward a more humorous and satirical Frank Zappa and Canterbury form of musical expression. The first four songs of Side One flow one song into the next without formal breaks, giving the impression of a conceptually-sequenced suite. The music is far more sophisticated than those on their previous albums--jazzy but more quirky and prone to very sudden--and quite frequent, unannounced--melodic and stylistic shifts. 

Line-up / Musicians:
- Jim Pembroke / vocals, voice, piano (3, 10)
- Jukka Gustavson / vocals, piano, organ, Mini-Moog & VCS-3 synths
- Pekka Pohjola / bass, violin, piano (4), Mini-Moog (7)
- Ronnie Österberg / drums, percussion, backing vocals (3)
With:
- Taisto Wesslin / acoustic guitar
- Unto Haapa-aho / bass clarinet
- Paavo Honkanen / clarinet
- Pentti Lasanen / clarinet, flute
- Juhani Aaltonen / solo flute
- Erik Danholm / flute
- Kai Veisterä / flute
- Pentti Lahti / flute
- Seppo Paakkunainen / flute
- Pekka Pöyry / soprano sax, flute
- Ilmari Varila / oboe
- Aale Lingren / oboe
- Juhani Tapaninen / bassoon
- Jukka Ruohomäki / VCS-3 assistance
- Erkki Kurenniemi / VCS-3 assistance

1. "Proletarian" (2:10) (4.375/5)
2. "Inspired Machine" (1:25) back to music theater? cabaret music? (4.375/5)

3. "Petty-Bourgeois" (2:58) like something straight out of a HATFIELD AND THE NORTH album--only with the vocal theatricity of Peter Gabriel. (8.875/10)

4. "Pride of the Biosphere" (3:15) pure vocal theatre--all performed over solo theatre organ. (8.875/10)

5. "Pedagogue" (9:11) definitely music that could have come from one of the Canterbury Scene's vocal masters: The early Soft Machine, Matching Mole, Hatfield and the North or Caravan--perhaps more this latter band, though the vocal sounds more like something IAN ANDERSON would've done around this same time with Jethro Tull. (18/20)

6. "Crisader" (4:47) the next song sounds like a little more organ-dominated continuation of the previous song. (8.75/10)

7. "Planetist" (3:08) an instrumental in which the wind instruments play a huge role. Very FOCUS-like.  (9/10)

8. "Maestro Mercy" (2:32) flowing straight out of "Planetist," Jim's vocal here seems to harken back to some late 1960s blues-rock psychedelia--the organ-based opening like PROCOL HARUM. (9/10)

9. "Prophet" (6:11) another more-vocal/lyrics driven song that has some very nice music to fill the copious spaces between the lyrics. Nice to hear the vast improvements in sound engineering as well the band members' new instrument acquisitions. (8.875/10)

10. "Marvelry Skimmer" (2:32) another song that launches without break straight out of the previous song, this one is much more blues-centric as the organ and LEON RUSSELL-like vocal lead the way over the fairly straightforward 1960s blues-rock dirge. (8.75/10)

Total Time 38:09

I would have to categorize this music as more consistent with the parameters of avant/RIO music vocal or early vocal Canterbury music (à la Robert Wyatt or Kevin Ayers). The music is all ver ypleasant--very melodic--and highly entertaining, and the musicianship of the contributors is top notch (which is necessary to accomplish such demanding, sophisticated song structures). I love the band's improved sound engineering as well as the assorted new instruments they've added to their repertoire--and I love the confidence Jim Pembroke has gained in his quirky vocal storytelling as well as the band's new proclivity for more complicated time and key signature shifting. There are a lot of significant steps forward the band has made to get here--for which I offer my sincerest admiration and congratulations.  

88.875 on the Fishscales = B+/4.5 stars; of all the WIGWAM albums, this is easily my favorite. However, it is another album that I won't be able in good conscience to include in my Jazz-Rock Fusion lists--not because it's not prog: no! It's pure prog but far more of a Canterbury or avant garde/RIO nature than J-R Fuse. Still, highly entertaining and highly recommended.

MANEIGE Maneige (1975)

 The Québecois scene of progressive rock is really catching fire at the time that these six gentlemen are coming together for their first studio album.

Line-up / Musicians:

- Denis Lapierre / acoustic & electric guitars

- Jérôme Langlois / piano, organ, clarinet

- Alain Bergeron / flute, saxophone

- Yves Léonard / acoustic & electric basses

- Gilles Schetagne / drums, percussion

- Vincent Langlois / percussion, piano (4)

1. "Le Rafiot" (21:22) Any fan of The Lamb Lies Down on Broadway's "The Waiting Room" will be loving the opening four minutes to this great side-long epic. After that exhibition of percussion interplay, the band members' classical training really comes out (though there are slight hints of folk and jazz influences). The pianist, Jérôme Langlois, seems to be the leader (Is he using an upright piano?), but the contributions of the bass guitarist, flutist, and tuned percussionist(s) are not insignificant. There are similarities to Dutch band FOCUS' more acoustic-grounded songs, as well as to British proggers, RENAISSANCE, but there is also so much from classical and folk traditions: at times I feel as if I'm hearing a small orchestra's coverage of some obscure AARON COPELAND piece. More technically accomplished than emotionally-appealing, this does deserve high marks for performance and composition. (36/40)

2. "Une Année Sans Fin" (6:39) a kind of cabaret or vaudevile jazz piece that has real suggestions of avant garde/Rock-In -Opposition intentions, this one becomes more melodic and engaging in some of its short-lived motifs used during the second and third minutes. Nice JON CAMP-like electric bass play. I have to admit that I am quite surprised at how central the flutes and xylophones are. (8.75/10)

3. "Jean-Jacques" (4:13) barrel-hall piano that is trying to sound classical, is soon joined by bass, xylophone, drums, and flute. There are classical, folk, and jazz elements used throughout this one. Again, the electric bass has a familiar JON CAMP feel to it while some of the main motifs feel like 21st Century Greek artist, CICCADA. (8.875/10)

4. "Galerie III" (7:50) drums and xylophone open like something orchestra but then woodwind horns give it a whole other texture. A brief section of heavy bass chords in the second minute let you know that this song is not going to be but rather something quite more oriented to the avant-garde stylings becoming explored in England, France, and the Low Countries at this time. There are several extended parts that are more melodic, more mellow, offset by several more heavy-rock parts. An interesting song. Like its title, I think we're catching snapshots of several disparate styles just as one might if you moved from room to room in an art gallery. An odd thing to try to make into a song! (13/15)

Total time 40:04

88.83 on the Fishscales = B/four stars; an excellent debut album of avant and classical-founded music coming from some very well-trained French-Canadian musicians. Though this album is definitely on the more-classical and even jazz-oriented edges of the 1970s prog scene, it's just not jazzy enough to qualify, in my opinion, for the Jazz-Rock Fusion lists.

COLOSSEUM Those Who Are About to Die Salute You (Morituri Te Salutant) (1969)

The material for the new band's first album was recorded in November of 1968 and then released by Fontana Records in March of 1969. 

Line-up / Musicians:
- James Litherland / guitar, lead vocals
- Dave Greenslade / Hammond organ, piano, vibes, backing vocals (6)
- Dick Heckstall-Smith / tenor & soprano saxophones
- Tony Reeves / bass, co-producer
- Jon Hiseman / drums
With:
- Henry Lowther / trumpet (1)
- Jim Roche / guitar (7)

1. "Walking in the Park" (3:51) the effects of the band members' Blues/R&B "training" is very evident with their choice to cover this Graham Bond song: from its opening bass riff the structure is rooted solidly in the Blues traditions. Where the band shows Jazz influences are in David Greenslade's organ play, Jon Hiseman's very active and surprisingly creative use of syncopation and machine gun fills, as well as the volume of the "horn section" of Henry Lowther and Dick Heckstall-Smith. James Litherland's vocal is great but it's more the presence of that gravelly male voice that reminds us of the heavier musical styles forming and erupting in the late 1960s. There's a lot of work to do before a higher quality of sound engineering and the band members' individual styles blend together in the cohesive style that is to come, but the talent is definitely on full display! (9/10)

2. "Plenty Hard Luck" (4:23) another blues form over which Dave and Jon put on a clinic of Cream- and Argent-like Power Rock while Dick and the rest of the band seem to lag a bit "behind" in the rudiments of the Blues World. James Litherland's vocal seems of secondary importance--and he struggles a bit to deliver lead guitar on a level anywhere near Jon, Dick, and Dave's. As the song opens with a fade in (from a previously-established jam) it is no surprise that the song's compositional credit goes to the whole band. Busy Jon Hiseman is a little overpowering of the overall music--especially when Tony and James are playing in such safe and rudimentary Blues territory. Toward the very end the band's overall sound seems to finally begin to blend better. (8.667/10)

3. "Mandarin" (4:27) an instrumental that quickly makes room for Tony Reeves to display his bass skills with an unusually-unaccompanied and -long (over 90 seconds) solo. When Jon rejoins in the middle of the third minute Tony clicks on the wah-wah effect, turns up the volume a bit, and continues . . . until 3:40! A gong crash signals the return of the full band into a form and palette that seems totally new and previously un-introduced (which leads me to believe that this song's four and a half minutes was excerpted from a much longer jam--one that started with the whole band motif that is displayed here at the end). In all honestly, Tony is not a very impressive (or even good) bass player--even with the effects turned on! But I would have loved to hear more of the whole band jam that was allowed to come through at the very end! (8.25/10) 

4. "Debut" (6:20) another song founded on a Blues structure, this one, unfortunately, puts some disappointing restrictions on Jon Hiseman's drumming--which diminishes the quality of both his performance and the song, overall. Solos from Dick and Dave are fine enough (Dave is actually quite a fine organist--very creative and not afraid to use odd/new effects), but over this rather dull and dated foundation it just doesn't have any staying power. And then, unfortunately, plugging James' lead guitar into the mix (at the very end!) does nothing to improve the song or palette. (8.667/10) 

5. "Beware the Ides of March" (5:34) a clear nod (and rather blatant take on the PROCOL HARUM monster hit--the slow dance of the decade: "A Whiter Shade of Pale"), it does allow plenty of room for Jon to impress (and, boy! does he!), Dick to add his own creative , as well as Dave to show off his advanced organ skills--as well as some cool piano & harpsichord after the 2:20 shift, before the band's ramp up in the fourth minute into a hard-driving, fast-paced Power Rock motif with James Litherland's loud but fitting lead guitar and the rest of the band's frenzied, frenetic letting-loose play up to the 4:52 mark. Great stuff! A real album highlight for me. But then they return to the sax-led "Whiter Shade" motif to close things out. Rated up for that amazing middle section (as well as for Dave and Jon's creative skills displays). (9/10)

6. "The Road She Walked Before" (2:39) this bluesy R&B tune from Dick Heckstall-Smith leans much more into both recent Jazz and R&B traditions that had proved successful in the Pop World (with artists like Dave Brubeck, Ray Charles, and Herbie Hancock). I really like this one (as it is far less blues-based).  It is, interestingly, the album's only composition attributed to a single member of the band. (9/10)

7. "Backwater Blues" (7:35) yes, we're definitely reverting to the Blues--the Deep Southern Blues of the Mississippi-Louisiana Bayou juke joints. I have to admit that James Litherland's excellent here vocals the early performances of Rod Stewart and Robert Plant--and the guest appearance of guitarist Jim Roche on lead guitar was definitely a stroke of genius. Both Tony Reeves and Dick Heckstall-Smith really excel: confirming some tremendous talent at playing the blues; Tony is so disciplined, so precise, and Dick is amazing at expressing the Blues to its absolute limits with both of his saxes (first tenor, then soprano, then two tracks merged together!) Very cool. I don't normally like the Blues much but I cannot help but extol the performances here. This is a great rendering of some classic Blues--the only "flaw" in the sound palette might be Jon Hiseman's too Jazz-flashy drumming! (14/15) 

8. "Those About to Die" (4:49) a very spirited song that features some rather astonishing organ work from Dave Greenslade and some very interesting thematic shifts in the composition. Solos in this instrumental also appear from Dick and James, but it's Dave that really rises above the crop. Once again Jon's busy drum work feels a little too Tony Williams-jazzy/busy--which, unfortunately, is not befitting of the song's over all vibe. (8.875/10)

Total Time 39:38

A very different version of Those Who Are About to Die, Salute You was released in the USA by Dunhill Records in July of 1969. Here is the track list from US 1969 LP :
A1. "The Kettle" (4:19)
A2. "Plenty Hard Luck" (4:20)
A3. "Debut" (5:13)
A4. "Those Who Are About to Die, Salute You" (4:47)
B1. "Valentyne Suite" (15:18) :
- a) "Theme One: January's Search"
- b) "Theme Two: February's Valentyne"
- c) "Theme Three: Beware the Ides of March"
B2. "Walking in the Park" (3:49)

Total Time 37:46

88.77 on the Fishscales = B/four stars; an excellent debut album that shows a band of Blues-trained musicians hell-bent on making something more vibrant and dynamic than their past bands--more on the level of Cream, Argent, or even Procol Harum. Also, I don't know if the songs were ordered on the album in the chronology of their creation, but the band does seem to show signs of gelling better the further the album progresses--which is also born out with their successive work on Jack Bruce's album as well as their own sophomore release, Valentyne Suite.  

HANNIBAL Hannibal (1970) 

A jazz-rock one off from Birmingham. The musicians were obviously inspired by COLOSSEUM, CHICAGO, and BLOOD SWEAT AND TEARS as well as PROCOL HARUM, The SPENCER DAVIS GROUP and even Andrew LLOYD-WEBER.

Line-up / Musicians:

- Alex Boyce / vocals

- Adrian Ingram / lead guitar, composer

- Bill Hunt / Hammond organ, French horn

- Cliff Williams / tenor saxophone, clarinet

- Jack Griffits / bass

- John Parkes / drums

1. "Look Upon Me" (6:13) Oh! The bluesy kind of jazz-rock, not really what I'd call fusion. The music shifts to BLOOD SWEAT & TEARS territory for the second motif and chorus (part of which sounds as if it is intentionally lifted from Andrew LLOYD WEBER's Jesus Christ Superstar: Jesus' emotional performance in the "Garden of Gethsemane" scene (and song). There's quite a little of The Animals' "Don't Let Me Be Misunderstood" in there, too. Nice musicianship and pretty good sound reproduction throughout. (8.75/10)

2. "Winds of Change" (7:26) more music that feels as if it's on the verge of going PROCOL HARUM or ANIMALS with some nice (and original) melodic singing over the top of interesting, subtly shifting and changing instrumental performances beneath. The slower middle section sounds a lot like The SPENCER DAVIS GROUP, even when it picks up. The sound of the Hammond organ is so domineering despite the wonderfully performed and mixed bass and drums. The guitar and horn accents are pretty cool, too. The final sections up the tempo while letting the instrumentalists go unrestricted for a bit. Great blues-feeling song. (13.5/15)

3. "Bend for a Friend" (10:27) opens with a guitar and bass riff that sounds like a Sergio Leone film score. The rest of the band joins in and proceed to set up a motif that is quite stereotypic for what we consider "Indian music"--that is, the music of Native Americans (as depicted, of course, in the soundtracks of film and the occasional Indian-themed hit song). At the three-minute mark the motif switches to a different, more strident and jazzy interpretation of yet another fairly familiar N.A. melodic theme. Guitarist Adrian Ingram goes a bit crazy on his electric guitar, again bridging the jazz and blues-rock worlds throughout his solo: part Hendrix, part Johnny Mac (or Randy California). At the 5:30 mark there is another, rather radical thematic change--this one feeling as if we've started a completely different song. It's cinematic like something befitting a B-movie horror flick. At 6:30 we again stop to listen to a solo saxophone solo: that's right: a solo with absolutely no accompaniment. Finally, 45-seconds in drummer John Parker joins saxophonist Cliff Williams' chorused woodwind. Then in the tenth minute the rest of the band throbs their way back in before lining up to finish the song with original pseudo-Native American motif. Interesting song. (17.5/20)

4. "1066" (6:28) (a reference, I take it, to either the Norman Invasion or the Battle of Hastings.) opens with a bluesy motif beneath Alex's recitation of words and terms tied into the year 1066. But then the music turns anachronistic--almost "mediæval"--with flutes, bass, organ, and harpsichord and a Michael Giles-like drumming touch. I find this anachronistic motif the most interesting and favorite of the album. Next is a rather spacious percussion-dominated passage that is quite reminiscent of King Crimson's quiet passage in The Court of the Crimson King's "Moonchild." Bass and drums get their time in the spotlight here. Hearing this makes me wonder if Carl Palmer and Greg Lake heard this song before (finally) rendering Greg's 10-year old song "Lucky Man" to tape. A very interesting song that never really seems to gel into something consistent or cohesive. (8.875/10)

5. "Wet Legs" (4:44) a kind of jazzy intro morphs into another Blues-Rock riff-based alternating four-chord progression. In the second minute of this completely-instrumental song there is a temporary detour down a jazzy sidestreet, but then we return fairly quickly to the original motif for some funky organ play and slow ROBIN TROWER-like guitar soloing (ending in "The Note": a single guitar note that is held for 45 seconds of slow decay while the organ continues to bounce around rather excitedly). The two motifs cycle around a couple more times before the song cashes out. (8.875/10)

6. "Winter" (8:06) a song that sits on the fence from its very opening notes as to whether it's prog or J-R Fusion, soon reveals its (surprise!) blues-rock nature. Syncopated drumming is the only truly jazzy element over the first few minutes as a descending four-chord motif beneath vocalist Alex Boyce's R&B voice drives the song until the instrumental vamp of the fourth and fifth minutes. Here a different rock rhythm motif is played beneath Alex Ingram's guitar soloing. The dude has obviously had some training in both blues and jazz guitar play (and may revere artists like Wes Montgomery and John Mayall) as he unleashes a truly nicely evolving solo over the course of its three minute length. Then the band suddenly stops and lays down a very spacious, mellow, and gorgeous gentle JIMMY WEBB-like  motif to finish the song with. Great song though I wouldn't really call this Jazz-Rock Fusion--or even Jazz-Rock. (13.5/15)

Total Time 43:24

88.75 on the Fishscales = B+/four stars; an excellent album of well-crafted, superlatively-performed, and nicely-recorded Blues-Rock-moving-into-Jazz-Rock songs. Highly recommended to all lovers of progressive rock--especially if you're into the origins and development of Progressive Rock Music.

DAVID FRIEDMAN Futures Passed (1977)

Recorded in New York City on January 28 & 29 of 1976, I am clueless as to why it took Enja Records so long to publish it. 

Line-up / Musicians:

- David Friedman / vibraphone, marimba, percussion

- Bruce Ditmas / drums

- Harvy Swartz / bass

- Pat Rebillot / piano

- Rimona Francis / vocals

A1. "Rachel's Samba" (7:02) vibe-led upbeat jazz in the Burt Bacharach tradition with vocalist Rimona Francis performing wordless vocalese in the same way that the Ron Ricklin Singers performed on Burt's "South American Getaway" from the Butch & Sundance soundtrack. Then in the second minute the music takes an unexpected turn, scaling down the speed, volume, and group weave to make room for pianist Pat Rebillot to solo. Once he's approaching the end of his solo the drums, bass, and vibes rejoin but then drop out again for a Vibes solo from the band leader to fill the fourth and fifth minutes. There is a little bass note play, quick piano trills and cymbal play but otherwise it's just a rather extended Vibraphone solo. There is a fusion going on here but I'm not sure I'd call it a Jazz-Rock fusion so much as a Jazz-Latin traditions fusion. Pleasant. (13.25/15)

A2. "Rodney's Dream Of Fantasy And Self-Fulfillment" (11:51) spaciousness littered with unscripted piano and Vibraphone notes opens this one, the two continuing to explore the vastness of empty space well over two minutes before any kind of structure or weave begins to fall into place. In the fourth minute a serious of brief legato runs from both instruments signals the start of a whole-band motif. Even this rises and falls regularly with woven parts to yield periodic empty space for one of the main melodists to recapitulate their latest variations on the main space-filling melodies that they opened the song with. Once the band really gels and gets to flowing it is quite beautiful--reminding me of some of Chick Corea and Lyle Mays' most beautiful passages. The feather bedding of fabric provided by bassist Harvy Swartz and drummer Bruce Ditmas are so essential to the uplifting, transportive heavenly music above. At the nine minute mark the music takes a detour down a hill of some risk and danger: everybody speeding along together as the narrow road carries them down into the valley floor of an uninhabited desert where they are left to decide whether to turn left or right (or try to find a way to climb up the steep canyon walls on the other side of the valley floor). Very interesting and visual! That middle section (approx 6:00 to 9:00) is worth the whole experience. (22.75/25)

B1. "Three Pieces" (8:13) solo double bass with David playing a repeating progression of melodic chords that sound like they come from the world of pop music. This section ends at the end of the second minute as Bruce's drums come crashing in--heavy on the cymbal bashing--moving things through some kind of storm--but then we move back to Broadway for some happy-go-lucky skipping down the 59th Street Bridge (feelin' groovy) with Rimona reappearing with her girl-next-door vocal scatting. David and Harvy play off one another in the next section while Bruce continues to drive and bash away. Then Pat rejoins (maybe for the first time?!?) as an enriching element of the background (kind of between the rhythm section and melodists). Rimona returns for the finale as the band recongeals to take us out on a high! (13.375/15)

B2. "A Smile On The Face Of Mourning" (8:36) opening with David's unscripted vibraphone chords to which Rimona is responding with odd vocalizations that sound very, very much like the stylings of Urszula Dudziak (which is not the first time I've made that comparison when listening to Rimona's work). The rest of the song is filled with Harvy's bass and Rimona's chromatic note-play responding to David's chord play on the Vibraphone--until the very last minute when Harvy picks up his bow and David switches to wooden mallets on a marimba. Rimona's spoken voice finishes things off, speaking in a foreign tongue that I assume is her native language (she was from Israel). Another interesting if more Jazz and Avant Garde than J-R Fusion. (17.375/20)

B3. "Trinkle-Tinkle" (2:52) a Vibraphone solo that sounds more like something to entertain a children's show (which leads to my usual reference to Mister Roger's Neighborhood music). (4.25/5)

Total time: 38:34

Unfortunately, as with David previous solo album (a collaboration with Dave Samuels), much of the music on this album is in the form of unaccompanied vibraphone/marimba work--which sounds like background music for some of Fred Rogers' instructional meanderings on his show, "Mister Rogers' Neighborhood." The portions with full band ensemble are, however, sublime--great jazz bordering on a little of the stuff that made the fusion movement of the 1970s so interesting. 

88.75 on the Fishscales = B/four stars; an excellent contribution of experimental Jazz with some Fusion and very little Jazz-Rock Fusion.

BOBBI HUMPHREY Flute-In (1971)

Recorded at Van Gelder Recording Studios, September 30 & October 1; released by Blue Note This was 21-year old flutist Bobbi Humphrey's debut solo recording--a gift she earned by performing at the Apollo Theater on Amateur Night, with Herbie Mann and Lee Morgan

Line-up / Musicians:

- Bobbi Humphrey / flutes
- Lee Morgan / trumpet
- George Duvivier / bass
- Ray Armando / congas
- Idris Muhammad / drums 

- Jimmy Johnson / drums
- Gordon Edwards / electric bass
- Gene Bertoncini / guitars
- Hank Jones / piano, electric piano
- Billy Harper / tenor saxophone
- George Devens / Vibraphone, marimba, percussion

A1. "Ain't No Sunshine" (2:30) Bobbi's take on this song feels as if she's deepened access to a particular aspect of the original: perhaps its funk or R&Bness. (9.25/10)

A2. "It's Too Late" (3:05) perhaps a little too close to the original despite the cool use of Vibraphone and congas. It's nice--especially for pool-side lounge entertainment. (8.875/10)

A3. "Sidewinder" (6:13) the music here feels like the contrivance of a white man writing music for a film's "love-in" scene. It's fun but so Peter Sellers-dated. (8.75/10)

A4. "Sad Bag" (5:05) gentle, sparse and jazzy in a step above lounge feeling with some truly beautiful, emotional flute play over the gentle piano, bass, guitar, Vibes, and brushed drum kit & cymbal fabric beneath her. Great bridge at 2:30 into a little more upbeat, uptempo fare--to which Bobbi responds correspondingly, with perfection. (9.25/10)

A5. "Spanish Harlem" (3:45) a Motown-like jazz instrumental version of this iconic song that doesn't work for me--on many levels. (8.667/10)

B1. "Don't Knock My Funk" (4:36) a composition by Motown composer/arranger and horn player Marcus Wade that really doesn't live up to its title--at least not in its first 90 seconds it doesn't. The attitude finally begins to show after the bridge that leads to more deep tenor sax notes, more Vibraphone, and louder electric bass and Fender Rhodes. The effects used on Bobbi's flutes in the middle of the song are cool. The final third of. the song sees the (second?) drummer jump in with some hard Motown-like snare hitting while Bobbi flies around on the flute at full volume. (8.75/10)

B2. "Journey To Morocco" (8:19) yet another composition from Marcus Wade (credited as W Marcus Bey), this one feeling a bit more Big Band like and lacking any flashy solos up front until the third minute when Billy Harper is let loose on his tenor sax. It's smooth and rather laid back despite its full cast of contributors. (17.5/20)

B3. "Set Us Free" (5:48) a cover of an Eddie Harris tune that was released as a single by Eddie and Les McCann earlier in the year. It sounds like it should have words--especially the 'chorus' as it sounds like the chorus of "Ain't Too Proud to Beg" as well as a little of the feel of both Little Anthony & The Imperials' "Hurts So Bad" and The Classix IV's "Spooky" The keyboard play sounds so like that of the original that I would not put it beyond the realm of possibility that Hank Jones might have been the keyboardist on both. An okay tune. (8.75/10)

Total Time: 39:34

Either it's Bobbi's particular approach with her flute and the arrangements of these songs, but I think a case can be made that flute covers of Pop hit songs make much better vehicles for expanding or enhancing a spirit of mood of the original than other instruments (like sax, keyboards, or guitars). Unfortunately, the highlight of the album comes in the form of the opening song: the cover of Bill Withers' classic debut--which Bobbi & Co. make their own in a very catchy way.

88.66 on the Fishscales = B/four stars; a solid debut with the help of an all-star cast of collaborators but wait till the next one!

BURNIN' RED IVANHOE Right On (1974)

The band's fifth and final album before migrating over to the more-Jazz-Rock-oriented Secret Oyster.

Line-up / Musicians:
- Ole Fick / electric & acoustic guitars, vocals
- Kenneth Knudsen / piano, Fender Rhodes
- Karsten Vogel / soprano & alto saxophones, organ
- Jess Stæhr / bass, guitar & lead vocals (4)
- Bo Thrige Andersen / drums
With:
- Ole Prehn / bass (4)
- Karsten Lyng / lead guitar & vocals (4)

1. "August Suicidal" (4:32) sounds like a slightly more sophisticated 1960s Eric Burdon with The Animals or Arthur Brown's Crazy World. Organ, racing drums, guitar, and bass with pompous male vocalist singing and screaming over the top. Interesting bass guitar solo in the third minute.  (8.875/10)

2. "When I Look Into Your Eyes" (3:40) slow, polished 1960s psychedelic rock. They musicians are skilled and very disciplined, but I hear absolutely no elements in this song that would lead me to think, "Jazz-Rock Fusion." However, I greatly admire the control and maturity the band displays on this musical expression. (9/10)

3. "La Beauté Du Buste" (4:50) soprano saxophone, bass, and wah-wah-ed Fender Rhodes electric piano each soloing at the same time, forming an interesting and surprisingly palatable weave. Now, this could qualify for significant J-RF points--though there is nothing here that doesn't sound like it was inspired by Yes Fragile shorts or The Doors' L.A. Woman. (8.875/10) 

4. "Make Me Look Away" (5:40) this one feels almost straight out of the American South: like a Doors venture into Crosby, Stills, Nash & Young; Arthur Lee's LOVE; The Eagles and Joe Walsh before they became one. The earliest Lynyrd Skynyrd. Very solid, great Southern Rock with one heck of a lead guitar sound (and, for that matter, that of the rhythm guitars, too) and skilled and passionate guitar soloing (from multiple guitars!). This could easily have been a major hit on FM radio stations in America! (10/10)

5. "Rockin' Rambler" (11:42) a cross between Creedence Clearwater Revival, Grand Funk Railroad, and Uriah Heep. More stellar sound production and mixing that fully and clearly captures the work of these talented musicians. The song itself is really just a 12-minute two-chord vamp within which Ole Fick sings (and talks) in his VAN MORRISON/JIM MORRISON/MICK JAGGER blended style while Karsten Vogel toots his alto sax along-side. The palette thins in the seventh minute while Ole and Karsten continue vamping. Kenneth Knudsen gets some shine on his Fender Rhodes in the tenth minute before a major slow down, space out takes over (though I can still feel/hear the "absent" two-chord vamp right up to Karsten's final squeak. (17.625/20)

6. "Tell Me" (5:20) back to the Eric Burdon & The Animals (or War) style and sound with Ole following the bass and sax's seven note rising scale melody line exactly during the verses. The choruses are a little more free and interesting, but those repeating verses get pretty irritating. Nice professional ROBIN TROWER-like guitar solo in the third and fourth minutes. A fine, polished performance of a somewhat weak composition. (8.75/10)

7. "Accident" (0:15) bloody nothing. Is the 15-second gap between songs the "accident."

8. "After The Carcrash" (3:00) treated electric guitars slowly weave their picked melodies with one another for the first 1:15. Then Karsten joins in with his plaintive sax. It's like a funereal dirge. Multiple sax tracks woven together are what take us out over the final minute. Kind of magical, that ending. (8.875/10)

Total time 38:59

No matter how finely crafted, performed, recorded, and produced these songs are (and there is a LOT of finery here) this album is in no way, shape, or form a Jazz-Rock Fusion album.

88.64 on the Fishscales = B/four stars; an excellent collection of finely rendered Southern Blues-Rock songs. Would have been great to play in rotation with my Rolling Stones, Doors, Uriah Heep, Crosby, Stills, Nash, Lynyrd Skynyrd, and Eric Burdon albums.

KEITH JARRETT, JAN GARBAREK, PALLE DANIELSSON, JON CHRISTENSEN Belonging (1974) 

Recorded in for ECM Records on April 24 & 25 of 1974, this was Keith Jarrett's first collaboration with this European quartet--an ensemble that became known as "The Belonging Quartet" due to this album's title and which whom he would collaborate with some frequency over the next 20 years. The album included all Jarrett compositions recorded by Manfred Eicher in single takes (Keith was adamant about not doing multiple takes of any songs--and minimal rehearsal--and, apparently, quite a stickler for his "rules.") 

Lineup / Musicians:

- Keith Jarrett / piano, composer

- Jan Garbarek / saxophone

- Palle Danielsson / bass

- Jon Christensen / drums

A1. "Spiral Dance" (4:08) the drum and piano intro is okay (reminding me a lot of Jay Beckenstein's SPYRO GYRA) but then when Jan Garbarek's sax(es) join in and Palle Danielsson lets loose it really pops and swings. When Jan is leading the melody-making the music definitely feels more J-R Fusionen, but when it's just the piano trio it feels more like basic, standard jazz. (8.875/10)

A2. "Blossom" (12:18) a solo piano intro is joined at the end of the first minute by "Aud Lange Syne" sax play and spacious bass and brushed drums (mostly snare and cymbals), still, it's kind of cool how Jan plays within and outside of (but definitely connected to) Keith's improvisational piano playing. Again, I find myself reminded over and over of a Christmas song: like Nat King Cole's "Christmas Song." A little too close for comfort, despite the improvisational weaving. Also a lot of VINCE GUARALDI-like style and note-choosing from Keith. I can see why people credit Keith as being an heir to the great Bill Evans (even though Bill was still alive during the decade this album was made). But then, as with the previous song, the Jarrett soloing (and withdrawal of Jan's saxes) yields a far more standard jazz palette and less of an experimental Fusion feel. In the ninth minute there is a lovely "conversation" between Keith and Palle: these guys really are connecting--all of them--though Jon's play on the kit is pure support. As a song, something that I enjoy, this is great. As a display of leading-edge J-R Fuse it is rather poor--which makes it quite the challenge to rate. Keith Jarrett's hypnotic mastery of his instrument certainly makes it special. (22.375/25)

A3. "'Long As You Know You're Living Yours" (6:11) some gospel-sounding blues that's here given a full band treatment. When Jan Garbarek joins in with his saxophone in the second minute I am immediately taken into the world of 1970s (early) DAVID SANBORN. Though David made some great, even iconic songs ("The Chicago Song" to be sure) that sonorous almost whiny and "dirty" distorted sound that he introduced to the world on Todd Rundgren's Initiation album has never really sat well with me--in fact, may even have contributed to my dislike (or helped me to realize that I had no love) for the saxophone. (8.5/10)

B1. "Belonging" (2:12) a piano piece that seems to borrow, both melodically and harmonically, from other famous song riffs (that I'm unable to pinpoint at the moment). (4.375/5)

B2. "The Windup" (8:26) more joyful, upbeat, regionally-inspired (New Orleans?) piano-based music that conjures up the music of modern day spiritual savant, JON BATISTE. Despite the rollicking happy feel, this feels more jazzy than fusion; perhaps the closest instrument to infusing rock, folk, or world styles would be the drumming of Jon Christensen. His work here is also extraordinary. I mean, all of the performances here are virtuosic, but, for me, Christensen's drumming really stands out. (17.5/20)

B3. "Solstice" (13:15) contemplative piano and bass are soon joined by a-little-more-sonorous sax and brilliantly-reactive piano. Everybody is pretty much improvising (Jon merely doing occasional brush or cymbal work in the background) but Keith Jarrett's ability to play off of the others--especially Jan's saxophone--is quite extraordinary. (This may be my first instance of truly appreciating and understanding the near-universal acclaim and adulation Mr. Jarrett has always garnered from critics.) I can only imagine how the others--despite each of their own virtuosity--must, at times, get lost in Keith's genius--even cower in the light of his almost-superhuman powers.

     It's songs like these that always serve to diminish my esteem for the instruments that are restricted to single expression (like, here, Jan's saxophone). Though I've often found myself marveling at Jan Garbarek's saxophone playing (especially for the companions he selects to collaborate with), this is one of those songs that just makes me feel, "He's just a saxophone player." Also becoming obvious to me as I listen to this song is how much Keith Jarrett's playing style must have influenced that of Pat Metheny's primary collaborator: Lyle Mays. 

     While I don't love this song (it is not one of those songs that I'm going to play because of the emotional response it evokes in me; if I did choose to play it, it would be more for the intellectual interest and experience) I appreciate the genius on display through it. (27/30)

 

Total time: 56:30

88.625 on the Fishscales = B/four stars; an excellent jazz album from four virtuosic consummate jazz musicians.

ARCO IRIS Arco Iris (1970)

My first exposure to the music of this highly-acclaimed band from Argentina! I'm excited as I love the inextricably entwined infusion of Latin and indigenous folk traditions poured into South American musics.

Line-up / Musicians:
- Gustavo Santaolalla / guitar, lead vocals, piano (9), organ & guiro (10), Fx (7, 9), composer, arranger & producer
- Ara Tokatlian / flute, citarina (2), piano (3, 5, 7, 10), tenor sax (7, 9, 10), claves (10), backing vocals
- Guillermo Bordarampé / bass, cello (2, 8-10), timbales & Fx (7), maracas (10), backing vocals
With:
- Danais Wynnycka "Dana" / vocals (6) - uncredited

1. "Quiero Llegar" (3:51) using a bossa nova/"Take Five" rhythm pattern and palette foundation, some quite lovely folk vocals give it a SERGIO MENDES & BRASIL '66 kind of feel, but then at 1:45 the music takes a turn into a more rock and surfer-rock form for an extended instrumental passage. The first minute of the instrumental passage is early-60s sounding while the final minute takes on more of a DOORS sound and feel with the introduction of a rock electric guitar to deliver a rather aggressive solo. The delicately delivered vocals alone are worth numerous repeats. (9/10)

2. "Hoy Te Miré" (2:21) almost pure folk music with its all-acoustic instrumental palette (simply-strummed acoustic guitar, bass, vocals and background vocals). At 0:58 there is a sudden speed up with an electric lead guitar, but these instances are very brief and only happen twice and are followed by a return to the delicate folk music of the opening only with a zither-like instrument replacing the strummed acoustic guitar (citarina?) (8.875/10)

3. "Camino" (3:57) Prog Folk of a rock nature that turns blues rock with the instrumental final minute. I'm a sucker for these indigenous clay flutes used in South American music. A surprisingly well-composed and rendered song. (8.875/10)

4. "Coral" (1:16) an interesting blending of church/monastic choir vocals with ethnic/indigenous traditions. (4.375/5)

5. "Te Quiero, Te Espero" (2:36) delicately picked electric guitar chords with perfectly-matched electric bass support the delicate harmonized folk vocals of Gustavo and mates. Great, heart-wrenching melodies and harmonies. Reminds me of the power of Tracey Thorne's early solo music. Piano enters at the end to carry the melody home. (9.125/10)

6. "Luli" (0:41) Dana's operatic vocal is a little more warbly with her vibrato than I'm comfortable with. (4.25/5)

7. "Canción De Cuna Para El Niño Astronauta" (4:02) great soundscape created by classical guitar, saxes, and heavily-reverbed "room" of drums, electric bass, electric guitar and one extraordinary lead vocalist. (Still Gustavo?) A song that could have fit in perfectly with the psychedelic rock wave hitting San Francisco in the late 1960s. Awesome. (9.75/10)

8. "Y Una Flor (El Pastito)" (1:57) delicate anachronistic acoustic folk instruments like harp and recorders   help found a folk sound for a song that is more folk or liturgical than prog but still excellent and impressive. (4.5/5)

9. "Tiempo" (5:42) sax and rock band instrumentation (heavy electric bass) set up a blues rock flow over which Gustavo sings with a fire and aggressiveness that he doesn't use much on the rest of the album. At 1:30 the music shifts into a little more rock-oriented blues-rock for a brief passage before settling into a full-on psych rock/R&B passage with lots of free-form additions to the music--including wild purcussion and vocal sounds and some proficient wah-wah guitar soloing--all delivered over a very solid and groovy bass and drum rhythm pattern. Nice! Then there are a couple more odd shifts that let me know that this song is really a suite--the final passage being piano and flute delivering a pastoral finish. (8.875/10)

10. "Y Ahora Soy" (11:59) opening with an ominous bass arpeggio that is repeated over and over as it is joined by electric guitar, saxophone and theater/orchestra-like drums. At the one-minute mark the band switches gears to introduce a more jazzy palette and motif over which saxophonist Ara Tokatlian lays down his "vocal" melody for about 90 seconds. Then there is another stop and pause before the citarina and clay flute enter to introduce a more ethnically-traditional theme, but this lasts only about a minute before Gustavo and the rock band rejoin to present some awesome blues-rock music in which vocals, sax, and wah-wah-ed electric guitar take turns playing off one another. A sudden stop and pause at 5:27 seems to want to last, but then everybody comes back in full volume to continue the exposition of the same blues-rock motif--both the heavy and more-plaintive side of it (chorus and verse, respectively). At 7:20 another stop and pause clears the palette for entrance of a Latinized instrumental passage (that sounds like "Tequila") over which Ara saxophone and an interesting variety of percussion instruments weave and solo. At 9:30 that lead instrument becomes a distorted electric guitar. Not anything mind-blowing in terms of ground-breaking or musicianship, this is merely an interesting "first" epic. (21/25)

Total time 38:22

The vocal skills and sensibilities exhibited by these artists are definitely advanced: they all carry their tunes with near-perfect pitch, perfect harmonies, perfect inflection and pronunciation, and perfect dynamics; the vocals alone make this a wonderfully enjoyable listening experience. The infusion throughout this album of more ethnic instruments, melodies, and vocal stylings that are more traditional to South American cultures is something that adds tremendously to its inherent charm.

88.625 on the Fishscales = B/four stars; a very solid and eminently enjoyable debut album from these talented and adventurous musicians. I am left feeling quite excited to continue to move forward chronologically in my exploration of Arco Iris' discography! 

P.S. I don't know why this band is listed among ProgArchives' Jazz-Rock Fusion artists as I hear very little jazz in this music; I'd be inclined to call this Prog Folk or Crossover. 

SONNY ROLLINS The Way I Feel (1976)

Recorded on the West Coast (in Berkeley, CA) in August and October of 1976, Sonny is hoping to elevate his music into current public consciousness through both an attempt to get on the Jazz-Rock Fusion bandwagon but also through surrounding himself with fresh, young talent. The album was supposedly released by Milestone Records in October 1976.

Line-up / Musicians:

- Sonny Rollins / tenor saxophone

- Charles Meeks / bass [electric]

- Patrice Rushen / clavinet, synthesizer

- Billy Cobham / drums

- Lee Ritenour / electric guitar

- Bill Summers / percussion, congas

With:

- Alex Blake / bass [acoustic] (A3, B2, B3)

Horn Section:

- Sonny Rollins (tenor saxophone)

- Oscar Brashear (trumpet)
- Gene Coe (trumpet)
- Chuck Findley (trumpet)
- George Bohanon (trombone)
- Lew McCreary (trombone)
- Don Waldrap (trombone)
- Alan Robinson (flugelhorn)
- Marilyn Robinson (French horn)
- Bill Green (piccolo, flute, soprano saxophone)

A1. "Island Lady" (5:51) upbeat, happy-go-lucky music for public consumption. Sounds like some island's cabana band. Other than Lee Ritenour's electric guitar solo and Patrice Rushen's electric piano play, a pretty simple and dull song. I mean, Sonny is a solid, no frills sax player--the kind that were a dime a dozen (though he does start to let loose with those shrill dog whistles at the end). (8.667/10)

A2. "Asfrantation Woogie" (3:14) more rather plain, milk-toasty simple consumer-friendly jazz despite the admirable activity of Patrice, Billy Cobham, and Bill Summers. It's just so drab and mundane: like something you'd expect at the annual county fair--or something that existed as a failed theme song for a half-season television show in the 1960s. (8.667/10)

A3. "Love Reborn" (5:13) this is the first song on the album to sound as if Sonny is wanting/expecting something truly jazzy, not just pop/consumer-friendly schlock--even when Sonny stops playing the sax at 1:45 and the band suddenly leaps into a refreshing Latin romp for Patrice Rushen to soar on her electric piano. But then, rather oddly, everybody goes back to sleep for Sonny's return at 3:05. At 3:40, the band jumps back into Latin dancing and Sonny goes along: accommodates his playing from dirge to Tom Scott-like dynamic-melodic. Nice! (9.125/10)

A4. "Happy Feel" (3:53) at least we're in the 1970s with this near-Disco tune (have I launched on you my theory that Billy Cobham inadvertently invented Disco?) Here a play on the main melody from Philly band M.F.S.B.'s 1974 monster hit, "T.S.O.P." Some great drumming from Billy, great electric bass play from Alex Blake, and awesome Fender Rhodes play from Patrice almost messes up Sonny's plan for lame and mundane--even serve to inspire his old ass to rev up for his second go round in the third and fourth minute. Hmm! I guess maybe the man can play. (8.875/10)

B1. "Shout It Out" (5:45) super funk that also sounds like it could fit in well as a soundtrack song for a Sesame Street sketch or some Saturday morning kids cartoon (other than Bill Cosby's Fat Albert and the Cosby Kids). (8.875/10)

B2. "The Way I Feel About You" (5:34) a seductive late night beauty. I guess Sonny knows what he's doing--though he's no Coltrane, Dexter Gordon, or Cannonball Adderley; he's more like Tom Scott--and he's not as corrupted as Dave Sanborn or Kenny G. (8.875/10)

B3. "Charm Baby" (7:25) schlocky smooth jazz that sounds rooted in the melodies of the early 1960s. More nice jazz guitar work from Mr. Ritenour through the fifth and sixth minutes. Even Sonny is solid and engaged (and engaging). (13.125/15)

Total Time: 36:54

One of the most challenging J-R Fuse albums I've ever tried to review due to all of the shlocky melodies and Sesame Street-friendly songs. Still, I commend the respect he's earned: respect that allowed him to either earn the money to recruit hungry, hot young musicians to his studio (and stage) sessions or for the thrill (and honor) of playing with a legend. Billy Cobham, Lee Ritenour, and the tremendously under-appreciated Patrice Rushen and Bill Summers perform quite admirably throughout, often elevating the songs to unthinkable heights when considering the base melodies and chord progressions they were all based on.  

88.61 on the Fishscales = B/four stars; a collection of songs that are based on some rather saccharine melodies and chord progressions is elevated by the spirited contributions of the young musicians Sonny hired.

HERMETO PASCHOAL Hermeto (1970)

A longtime Jazz veteran of Brasil's music scene catches the "fusion" bug, travels to the USA to collaborate with some of New York City's finest studio musicians. The album was recorded in 1970 at A&R Studios in New York City and then released by Cobblestone Records sometime later in the year.

Line-up / Musicians:
- Hermeto Pascoal / keyboards, flutes, arrangements and composition
- Flora Purim / vocals
- Joe Farrell, Jerry Dodgion, Arthur Clarke, Hubert Laws, Maurice Smith, Harold Jones, Leon Cohen, Jerome Richardson / woodwinds
- Garnet Brown, Wayne Andre, Jack Jeffers, Richard Hixson / trombones
- Thad Jones, Joe Newman, Gene Young, Ernie Royal, Melvin Davis / trumpets
- Don Butterfield / tuba
- Ron Carter / bass
- Airto Moreira / drums and percussion

1. "Coalhada (Yogurt)" (3:00) big band jazz that happens to use electric piano. This sounds like Doc Severinson's late night band with Johnny Carson. The song's end is a fadeout during some very animated and dynamic full-band interplay. Nice full-band cohesion. (8.875/10)

2. "Hermeto" (4:22) sounds like a Eumir Deodato and Burt Bacharach team rendering of "You Are the Sunshine of My Life." Hermeto's electric piano play fits so nicely over the Smooth Jazz orchestral arrangement. Nice lead flute solo from (probably) Hermeto himself. (9.125/10)

3. "Guizos (Bells)" featuring Googie Coppola (6:20) gentle, atmospheric jazz stripped down to Ron Carter, Hermeto's sensual electric piano, Airto's cymbal and brush play, with Flora Purim's wordless vocalese floating within and above it--and, later, a breathy flute. The orchestra makes its presence known in bigger and bigger ways toward the end of the fourth minute, swelling just before Hermeto's sexy little keyboard dance duet with Ron. Flora and low brass return around the five minute mark, prompting the horn-led orchestra to swell again. Beautiful music (that reminds me very much of the intro "Storm at Sunup" section of Gino and Joe Vannelli's opener to their great 1974 album of the same name)! (9.12510)

4. "Flor Do Amor (The Love Flower)" (5:51) opening with a beautiful small chamber arrangement of wind instruments that turns to strings for support and takeover around the 20-second mark before melding together to support a lovely lower register flute lead. The harmonic orchestral support is wonderful! Brass take over in the lead position of the "dance," giving Hermeto time to get situated at his electric piano for a turn.  Then it's back to flute for the end of the fourth minute, back to keys for the fifth, dueling/dueting with flute (there are so many accomplished flute players credited in the line-up chart that it's hard for me to believe that Hermeto doesn't use one or more of them to play off of: Hubert Laws! Joe Farrell! Jerome Richardson!) (9/10)

5. "Alicate (Pliers)" featuring Flora Purim (4:00) this one sounds very much like a Burt Bacharach song with the orchestra providing most of the melody leads for the first 1:45. Then an odd almost "bass" or bamboo flute enters, playing really low, really breathily. This must be Hermeto due to the Amazonian flavor/flare being presented here. Return to orchestral dominance for the rest of the third and fourth minutes (with lots of wonky, animal-sounding brass), and then fade out. (8.875/10)

6. "Velório (Mourning)" featuring Flora Purim (8:38) organ, bass, and low-end flute(s) and female vocalese open this one while a taped recording of tribal conversation plays beneath. The whole vibe here is one of the Amazon jungle. Even the violins that enter in the middle of the second minute and the other orchestral instruments seem to be trying to capture or emulate jungle noises. Then in the second half of the third minute Airto's lone violin-like berimbau goes completely solo, sounding like the fast-rushing of an on-coming railroad train. The fifth minute sees a return of the wooden flute (heavily reverbed), which plays solo for a complete minute before petering out and being supplanted by a faded-in piano--who continues the on-rushing train theme--until the end of the sixth minute when the orchestra's trumpet section announces itself sharply, being joined by other brass, winds, strings, and percussion instruments in a very theatric motif that begins to "fall apart" like a drunken debauch at the end of the eighth minute. The chaos is then displaced by piano, bowed bass, and tambourine playing an "old-fashioned" barroom jazz bit to the song's end. Interesting! Not my favorite but I appreciate the creativity behind the song. (17.5/20)

7. "As Marianas (The Marianas)" (4:34) full orchestra playing music that sounds like the warm up music to a grand ball or art museum exhibit. This may be jazz (of the Nelson Riddle-Glen Miller kind) but it's nowhere near anything I'd apply the Jazz-Rock Fusion term to. It's also kind of lame, like a sleepy, sloppy version of "Born Free." (8.375/10)

8. "Fabiula" (3:51) more "old" strings-dominated cinematic music that may be big band created (I hear the individual instruments like flutes, horns, and Spanish guitar) but it, again, fails to even come close to the musics I would term "J-R F" (or any other kind of fusion). Maybe "orchestral-bossa nova lite" would best describe this soporific fare. At least this one is far more sophisticated and melodic than the previous disaster. (8.875/10)

Total time: 40:46

88.61 on the Fishscales = B/four stars; Oh! how one really poor song can drag an entire album down from near-masterpiece status to good/worth your attention. Side One is definitely deserving of all your Jazz-Rock Fusion enthusiasm whereas Side Two may bore you to tears--especially if you have an aversion to languorous strings-dominated orchestral jazz and attempts to replicate the sounds of the jungle using musical instruments.  

JACK BRUCE Songs for a Tailor (1969)                                               

The highly-revered bass player's first solo album release finds Jack supported in part by members of Colosseum (Dick Heckstall-Smith and Jon Hiseman), in part Nucleus (Chris Spedding and drummer John Marshall). Bruce was, of course, a former member of Cream (with guitarist Eric Clapton and drummer Ginger Baker), Manfred Mann, John Mayall's Bluesbreakers (with Eric Clapton), and both the Graham Bond Organization (with Baker and Heckstall-Smith) and Graham Bond Quartet (with Baker and guitarist John McLaughlin) as well as Alexis Korner's Blues Incorporated (his first collaboration with Baker and Heckstall-Smith). The material that became Songs for a Tailor was recorded in London in April and May of 1969 and then released in Britain by Polydor Records on August 29 of 1969 (Oct. 6 in the States by ATCO). 

Line-up / Musicians:
- Jack Bruce / vocals, bass, piano, organ, guitar (5, 7, 9), cello (5), composer & arranger
With:
- Felix Pappalardi / vocals (5, 9), percussion (7), guitar (9), producer
- George Harrison / rhythm guitar (1)
- Chris Spedding / guitar (2-4, 6, 9, 10)
- Harry Beckett / trumpet (1, 6, 8)
- Henry Lowther / trumpet (1, 6, 8)
- Dick Heckstall-Smith / tenor (1, 6, 8, 11) & soprano (1) saxophones
- Art Themen / tenor saxophone (1, 6, 8)
- John Mumford / trombone (8)
- Jon Hiseman / drums (1-4, 6, 8-10)
- John Marshall / drums (5, 7)

1. "Never Tell Your Mother She's Out of Tune" (3:41) R&B Brass Rock with a complex syncopated construction that uses dissonant chords from both the horn section as well as an unusual progression for the odd vocal melody to sing over. The drumming is particularly tight but it's the horn arrangements that really knock your socks off. Jack's bass playing is impressive, especially toward the end when he starts to stray outside the main riff he created to found the song over. Not a great nor memorable song except for the unusual horn arrangements. (8.875/10)

2. "Theme for an Imaginary Western" (3:30) sounding like a PROCOL HARUM song with both vocal melody, band's chord progression, organ and piano dominance, and pace, Jack's voice has a kind of jazzy VAN MORRISON quality and styling to it. Another okay song. (8.75/10)

3. "Tickets to Water Falls" (3:00) a brief piano intro turns into another unusual jazzy song with a bit of a Caribbean flavor to it despite its loud free-flowing Jazz-Rock bass and multiple keyboards and spicy rhythm guitar (which Chris Spedding later turns into a bit of a George Harrison-like solo). Very interesting. (8.875/10)

4. "Weird of Hermiston" (2:24) a Blues-Rock based song that again crosses into that area of music that is more commonly traversed by artists like Van Morrison, The Band, Jethro Tull, and George Harrison--this might even be considered proto-Americana! (8.75/10)

5. "Rope Ladder to the Moon" (2:54) a Blues-Rock song that sounds very much like it could have come from one of JETHRO TULL's earliest albums. I like this one. Even the vocal sounds as quirky and adventurous as something Ian Anderson (or Van Morrison) would do. (8.875/10)

6. "The Ministry of Bag" (2:49) this one is pure Memphis Blues--as if Booker T & The M.G.'s and The Memphis Horns are on board from start to finish. Jack's singing is aggressive and bluesy like young Dr. John or Wilson Pickett. A top three song. (9/10)

7. "He the Richmond" (3:36) Jack's strumming acoustic guitar opens this where he is joined by John Marshall's drums and his own bass while singing a vocal as if channelling a combination of Richie Havens, Ian Anderson, and Dr. John. The uncredited harmonizing vocals of the second minute are really unusual--and cool! A top three song for me. (9/10)

8. "Boston Ball Game 1967" (1:45) loud horns and pounding piano dominate this one so much that Jack's multiple vocal(s) tracks are nearly drowned out (and seem to have to force themselves to be heard). Kind of cool but could've been turned into something more. (Or else.) (4.375/5)

9. "To Isengard" (5:28) acoustic guitars strumming and picking while multiple vocal lines are tracking--the lead using a delicate, high-pitched timbre (that sounds like Rod Stewart trying to sing up high). Very interesting. I really like the vocal harmonies as well as the interplay between Jack and Chris' two guitars. At 3:15 there is a brief stop out of which explodes a uptempo motif that spreads things out among bass, drums, and the psychedelic sound creations and play of Chris Spedding's electric guitar. While I prefer the first half, I did enjoy the second half, too. My final top three song. (8.875/10)

10. "The Clearout" (2:35) trying to go back to the Cream world? Heavy power chords from both electric guitar and bass over Jon Hiseman's Ginger Baker-like militaristic drumming. Not my favorite use of these talented artist's skills. And I didn't even mention the Roger Daltry-like singing or lyrics over the Beatles' "Birthday"-like melody line. (8.75/10)

Total time 31:42

Jack can certainly impress with his bass playing--as if he could be the father of Jaco Pastorius--but his active and jazzy lines (and sound) are not always as fitting to the music and his vocal stylings and lyrics aren't quite the kind of stuff for the AM charts. 

88.55 on the Fishscales = B/four stars; while I definitely appreciate the uniqueness of Jack's talents and vision, I find most of the music on this album to be almost confusing and messy, and the lyrics to be nearly impregnable and, probably, written from a very personal, albeit creative perspective (not unlike those of Van Morrison). 

GEORGE BENSON Beyond the Blue Horizon (1971)

Another album for Creed Taylor and CTI that was engineered by Rudy Van Gelder. The album is split into two halves: the first (Side One) containing two covers of jazz classics: Miles Davis' "So What?" from his 1959 masterpiece, Kind of Blue and Luiz Bonfá's "Gentle Rain" (composed for the 1965 film, The Gentle Rain. It was first arranged and produced for the film by Eumir Deodato and later, in the same, by Creed Taylor for Astrud Gilberto to perform on her 1965 album release, The Shadow of Your Smile). The second half (Side Two) is occupied by three George Benson originals. 

Line-up / Musicians:
- George Benson / guitar
- Clarence Palmer / organ
- Ron Carter / double bass
- Jack DeJohnette / drums

- Albert Nicholson / percussion

- Michael Cameron / percussion

A1. "So What?" (9:05) how unusual to hear a version of this classic tune performed on electric guitar and organ with fusion-like drums and bass! I have to admit that, despite the obvious skill on display, I'm not really a fan. (17.375/20)

A2. "The Gentle Rain" (9:05) Though the organ and and guitar are the real occupants of the spotlight on this one (in a neat shared way), the percussionists, bass player and drummer have quite lavish roles. Though this kind of jazz sound palette is quite passé, it is quite entertaining with both George and Clarence displaying their talents and skills quite well. (17.5/20)  

B1. "All Clear" (5:15) a creative display of dynamic jazz guitar playing from George with some nice support from Jack DeJohnette. (8.875/10)

B2. "Ode To A Kudu" (3:45) beautiful solo jazz guitar for the first minute before the rest of the band joins in with a kind of gentle shadow support. In the third minute George gets a little bluesy, even sporting a couple rock-like riffs that he would later make rather famous as trademarks of his. I can really appreciate both his creative and technical genius on this one. (9/10)

B3. "Somewhere In The East" (6:05) opening with Michael and Albert dueling with their hand drums (tabla-like, African, and conga/bongo). George joins in with some unusual guitar playing while Ron, Clarence, and, eventually, Jack join in with equally idiosyncratic sounds and techniques. Is this intended to emulate or draw from some Eastern/Oriental tradition(s)? If so, I'd say it fails quite miserably. If only intended to explore the odd potentialities of Western instruments, it works okay. The guitar and organ seem the most out of place. (8.75/10) 

Total Time: 33:15

Overall this album from a team of finely talented musicians just sounds too cheesy and dated for my tastes. The skill levels are incontestable--and I have no complaint with Rudy Van Gelder's sound engineering--I just don't feel that this type of combo has any relevance except historically; it us a palette of instruments that, unfortunately, my brain has hardwired as kind of background/elevator music. Also, I feel that George's own three compositions do more to explore that which is the infant spirit of Jazz-Rock Fusion.

87.86 on the Fishscales = C+/3.5 stars; a fair, if dated, album that displays a little of 1971's burgeoning spirit of Jazz-Rock Fusion.

ALPHONZE MOUZON Funky Snakefoot (1973)

After breaking out on his own solo career the previous year with the fairly-successful The Essence of Mystery the respected Jazz-Rock Fusion drummer strives for more of the Soul/R&B market.

Line-up / Musicians:

- Alphonze Mouzon / drums, vocals (A2 to A4, B1 to B4), organ (B3), piano [Tack] (A1), synthesizer (A1, A3, A4, A6, B1 to B4)

- Gary King / bass (A1 to B1, B3, B6)
- Harry Whitaker / clavinet (A3, A5, B4)
- Ray Armando / congas, bongos (A1, A2, B1)
- Leon Pendarvis / electric piano (A1, A2, A4, B1, B2), organ (B3, B4), piano (A3, A5)
- Mike Mandel / electric piano (programmed by synthesizer) (A3, B6)
- Richie Resnicoff / guitars (A1, A2, A4, B1, B3)
- Angel Allende / percussion (A1)

- Steve Berrios / percussion (A1)

- Harry Whitaker / piano (A1, A2, A4, A6 to B3)
- Andy Gadsden / saxophone (A1, A5, B1, B3, B6)
- Mark Harowitz / pedal steel guitar and banjo (A6)

- Barry Rogers / trombone (A1, A5, B1, B3, B6)

- Randy Brecker / trumpet (A1, A5, B1, B3, B6)

A1. "I've Given You My Love" (4:43) opens up like an ABBA dance tune before quickly veering into the funkier pre-Disco realm. Alphonze's synth solo takes the first extended solo, then pianos, rhythm guitar, and horn blasts punctuate a bridge after the chorus to return to the verse and start over--with the lame synthesizer continuing to solo/announce the melodies (as if it were a human voice delivering lyrics). It's good, solid, definitely danceable and melodic, just not as interesting as--more like the music a TV talk show band would use between guests or to introduce a guest. It's definitely better in the final two minutes when organ and horns are more prominent. (8.875/10)

A2. "You Don't Know How Much I Love You" (4:40) opens with a drum beat like Barry White's "I'm Gonna Love You Just a Little More, Baby" but then blends in some Marvin Gaye What's Going On before turning into something more like "Love's Theme" (with lyrics). This is definitely Al's poorest vocal performance on the album: there are way too many moments in which his pitch fails to stay in key. (8.375/10)

A3. "I Gotta Have You" (2:46) a song that plays out as a kind of humorous cheeky Stevie Wonder-like song. Very simple chord and rhythm structure over which Al sings the title lyric with a few add ons for emphasis. The dude is feeling sex-deprived. Same drum sound, same voice sound issues, and same synth drilling teeth from behind. (8.5/10)

A4. "My Life Is So Blue" (4:37) a song that is set up to be a little more classy, even elegant, with both it's construction, sound palette, and Gino Vannelli-like vocal styling. High marks for effort, demerits for coming across with too much schlock. (8.875/10)

A5. "Funky Snakefoot" (3:45) great drumming, great bass playing from Gary King, and great clavinet play from Harry Whitaker open this one, quickly establishing a very refreshing groove. Trumpet, piano, and trombone solos from Randy Brecker and Barry Rogers, respectively, in the second minute are brief but powerful. Andy Gadsden's saxophone in the fourth, also before the song fades out. Very high-spirited and fun! Easily the best song on the album (perhaps the only one). (9.3333/10)

A6. "My Little Rosebud" (2:02) a very openly tongue-in-cheek Country-Western parody. Mark Horowitz'  pedal steel guitar and banjo play are actually quite impressive. (4.25/5)

B1. "A Permanent Love" (4:20) more upbeat, uptempo soulful dance music over which Alphonze sings. The dude shows a little passion and feeling for this lyric; with the addition of the horn sections accents, the music sounds a little like contemporary Stevie Wonder. The lyrics are definitely meant to be the focal point of this one but the horn section is fun (would be fun to be a part of). (8.875/10)

B2. "The Beggar" (4:35) funky synth bass line opens this before cool, solid drum beat joins in. Electric piano, synth, organ, and Alphonze's voice join in. Too bad A's Eddie Murphy-like voice is recorded, engineered and mixed so oddly throughout this album (far into the back--almost muted). Again, the lyrics are meant to be the star of this song--much in the vein of popular social commentarist Gil Scott-Evans, methinks. The song is faded out right in the thick of A's rather impassioned delivery of lyrics. How odd!(8.75/10)

B3. "Oh Yes I Do" (4:35) bluesy-R&B that sounds a bit like The Temptations "Can't Get Next to You." Al starts singing right from the start: once again sounding very much like the voices Eddie Murphy would make popular on his Saturday Night Live musical skits, only, I don't think Al is trying to be comical. The Steohen Winwood blues organ chord progression keeps things organized as Al uses his drums and favorite synth sound to rouse a little more energy over the final two minute's instrumental passage. (8.75/10)

B4. "Tara, Tara" (3:35) nice drumming and keyboard work over this song that mimics Billy Preston, Stevie Wonder and predicts K.C. and the Sunshine Band a little. The drumming is impressive, I just wish it had been recorded and mixed a little better. (8.875/10)

B5. "Where I'm Drumming From" (1:20) sounds like someone fooling around on an early drum machine: rapid fire here, there, everywhere! (Is this where the sound was recorded from to make my first drum machine's programmed sounds?) It's as if a guitarist turned on the record button and just proceeded to spit out 90 seconds of runs. (4/5)

B6. "Ism" (3:08) opens with drums as if to impress--and they're flanged! Then big bombastic jazz chords are played over the continued impressive drumming with synth banks, horns, synth bass chords. I actually like these angular chord progressions though the drumming gets a little pompous and over-zealous from time to time. The man is all Animal tom- and cymbal-crashing--not even the cool flange effect can keep me from feeling embarrassed for Al's apparent need to impress. (9/10)

Total Time: 43:16

A jazzed-up Soul/R&B album with each and every song intended to have possible pop radio play (if only the Soul/R&B charts). It's fun, with no real low/deficiencies it's just not top tier production. Also, Alphonze just doesn't have the voice or vocal talent to pull of radio-quality hits and his drumming is     quite often embarrassingly over the top: as if the 25-year old feels some overwhelming drive to prove his skillfulness. (Was he dissed by the critics early on in his career?)

87.60 on the Fishscales = B-/3.5 stars; an interesting and often enjoyable display of Soul/R&B wannabe from a supposed upper-level Jazz-Rock Fusion. I had much higher expectations than this was able to delliver. 

JUKKA TOLONEN Hysterica (1975)

A year after The Hook, on which band leader and composer Jukka Tolonen takes a step further away from his folk and world music-tinged preferences toward harder, heavier rock. 

Line-up / Musicians:
- Jukka Tolonen / electric & acoustic guitars, piano (6), composer
With:
- Esa Kotilainen / Hammond organ, clavinet, Mini-Moog
- Pekka Poyry / soprano (6) & alto (3) saxophones, flute (5)
- Sakari Kukko / soprano sax & flute (4)
- Heikki Virtanen / bass
- Pekka Pohjola / bass (4)
- Esko Rosnell/ drums, tambourine (1, 3), shaker (3), claves & agogo (4)

1. "Jimi" (9:30) quite an obvious homage and imitation to rock guitar's greatest trailblazer and innovator, the rhythm section is surprisingly sparse (much less chaos than that which Noel Redding and Mitch Mitchell routinely generated) and Jukka's performance is far less dynamic or technically impressive than Jimi's easy-going temporal mastery. This, unfortunately, the first half of this song feels like a teenage garage band's early attempts at exploring Jimi territory. Since Jukka was 23-years old at the time of these recording sessions, I must admit to being a little disappointed. And, no: even with warmup and synchronizing, the trio never really achieve those magical, masterful levels of the Jimi Hendrix Experience. (17.125/20)

2. "Django" (2:34) blues-rock musical motif that is set up to make room to show off Jukka's fast, clean-picking electric guitar prowess--with, of course, a bit of the folk-jazz perspective that Django Reinhardt was known for. There is quite a little in Jukka's style and sound that would compare him to Steely Dan stalwarts Denny Dias and Jeff "Skunk" Baxter as well. There just needs to be something a little more to elevate this song into a finished or fully-developed state. (8.875/10)

3. "Hysterica" (6:33) entering the fray of full-on rock-oriented jazz-rock. Nice horn section arrangements, nice drumming from Esko Rosnell, and impressive guitar play from Jukka--at times sounding a bit like Steve Howe, at others like a caffeinated B.B. King. Overall, the song has a bit of a cheesy television soundtrack/advertisement sound and feel, but the skill levels are pretty high with the band hitting all the changes and speed demands with admirable synchronization. Esa Kotilainen's MiniMoog solo in the last 90 seconds makes the song sound a lot like something from American band Starcastle. (8.875/10)

4. "Tiger" (7:02) opens with a fast-moving blues rock bass line (courtesy of Pekka Pohjola) repeating itself over and over in an unusual time signature as other instruments slowly, carefully join him. By the time the second minute rolls around there are percussion (agogo!), Hammond organ, saxes, and guitar playing a jazz-rock "Peter Gunn"-like motif. Airy flutes take over at the top of the motif in the third minute for a bit before a bridge takes us into a more R&B-like motif over which Pekka performs a brief but impressive bass solo before the horns take their turns. I love the awesome abrasive rhythm guitar strum-striking Jukka is doing here! Then Jukka finally takes a solo: it's okay. (I don't really like the Stephen Stills-like muted jazz guitar sound he's chosen here.) Great drumming from Esko Rosnell throughout. What an awesome rhythm section! This song makes me wish Pekka Pohjola were around for the whole album (which is not always my reaction to Pekka's presence). Easily the best song on the album: just great from start to finish. Even the cat-like cacophony at the end with Jukka rock-soloing over it is entertaining. (14.25/15)

5. "Silva The Cat" (4:50) a song that was even released as a 45-rpm single back in the day, it's cute and melodic, quite simple, tow-chord song--which makes it understandable that is would/could be popular as a teeny-bopper radio dance tune. The fuzz guitar soloing over the top from the second half of the second minute to the  is, to my ears, a bit annoying. I'm also not really happy with this simplistic tune on a Jazz-Rock Fusion album: it feels as if Jukka is pandering, debasing himself by selling out to the pressures for mass popularity, lowering his standards to an embarrassing level. (But, then, so many artists were doing the same--succumbing to the pressures from their record companies to try to make money.) (8.5/10)

6. "Windermere Avenue" (7:15) slowed down and straightened out, the sound and feel of this one almost lands this in Yacht Rock territory. The folky reeds and synth weave and Surfer Rock bass melody seem to substantiate this. Jukka's guitar solo doesn't start until the fourth minute and it's a bit smooth and easy--like a 461 Ocean Boulevard-era Eric Clapton solo. The main piano-based melody keeps bringing me into easy listening crossover country-rock tunes and artists like "Rhinestone Cowboy," Kenny Rogers, and  even Charlie Rich. (13.25/15)

Total Time: 37:44

One great song (that would become a concert staple and much-covered song by other up-coming artists over the decades), three solid if-odd ones, and two "throw away" songs does not, in my opinion, make for a great album. After his previous two solo efforts, I find myself greatly disappointed with this one (the growth was not as significant as I'd hoped for and, perhaps, expected). 

88.59 on the Fishscales = B/four stars; a sorely inconsistent album of eclectic styles and sounds that proves to be quite a disappointment after the promise shown by Jukka's previous two albums. Recommended for "Tiger" and the three other solid, if-less-jazzy jams.

EMERGENCY Entrance (1972)

An album of brass-enhanced pop jazz-rock music not unlike that of Blood Sweat and Tears: the band's lead singer John Redpath's voice is pretty much a dead ringer for that of David Clayton Thomas. 

Line-up / Musicians:
- Hanus Berka / saxophone, flute, keyboards, mellotron
- Frank Diez / guitar
- Otto Bezloja / bass
- Jiøí Matousek  / keyboards
- John Redpath / drums, vocals
- Curt Cress / drums

1. "Why Am I Doin' It" (7:50) built a bit more like CHICAGO's version of "I'm a Man" this one rocks, it rolls, and it blues-rocks, it even jazz-rocks a little. Nice Terry KATH/David CLAYTON THOMAS vocal from drummer John Redpath but the song does over-stay its welcome a bit despite saxophonist Hanus Berkas enthusiastic play. (13.25/15)

2. "Happiness" (7:00) piano-based blues rock that sounds very Southern USA like the Allman Brothers, Leon Russell, Dr. John, or even Van Morrison. (12.75/15)

3. "Journey" (7:30) a very-Sixties Bay area-sounding blues rocker built over a repeating three-chord piano arpeggi does ramp up for a bit in the third minute form some brass-rock before reverting to the original motif for some bluesy piano pounding. Nice recording engineering delivering clear tracks for each and every one of the instruments. Very solid. (13.5/15)

4. "Emergency Entrance" (11:20) opens with a nice weave of drums, percussion and bass before weird mosquito-like synth joins in with piano and rhythm guitar. Flute takes the next solo (I'm assuming that the mosquito-synth was intended as the first) with mostly-percussion backing. A bit like instrumental palette and sound beneath Van MORRISON's "Moondance"--or if it were extended into an instrumental jam. Organ, piano, saxophone (briefly), and electric guitar get the next solos, in that order--all of it pretty "raunchy" (though cleanly recorded). It's a nice song for displaying the capabilities of the band's individuals. The second movement of the song is pure blues--with saxes, low-end guitar, and organ takin' us into the Swamp. There is crescendos at in the tenth minute with some whole-band blasts and then some high-tailin' runnin' out for the final minute. (17.5/20)

5. "Killin' Time" (10:20) a two-part suite that starts out quite gently, even emotionally beautiful reminding me of some of NEKTAR's more tender moments. John Redpath's vocals are also very gentle--like BOZ SCAGGS on "Harbor Lights." But then the song jumps into a different gear, coming together for some more Southern Rock bordering on Chicago melodically. Here John's vocal is much more than something from an Allman Brothers or Blood, Sweat and Tears album. After a brief saxophone solo the song moves into its second phase: this one more organ-based and organ-dominated like something from an early Brian Auger or ROD ARGENT jam. Jiøí Matousek is a very talented organist! Sax takes the next solo--here reminding me of why I don't like this overgrown kazoo. I have to admit that overall this is a pretty cool song. (18.25/20)

Total time: 44:00

While I came here because of my deep dive into Jazz-Rock Fusion--something this album is NOT--I have to admit that I really enjoyed this experience. My several listens through Entrance has helped soften my rather dismissive "complex" against blues-rock. 

88.53 on the Fishscales = B+/four stars; an excellent album of proggy/jazzy Blues-Rock music--one of the best of its kind that I've heard.

FUSIOON Minorisa (1975)

The Barcelona quartet issue their third album by following up their RPI-sounding 2 from the previous year with another mathematically-constructed album formed in the same clothes only reaching for even greater heights of sophistication.

Line-up / Musicians:
- Manel Camp / piano, keyboards
- Jordi Camp / bass
- Santi Arisa / drums
- Marti Brunet / guitar, synthesizers

1. "Ebusus" (18:50) disciplined performances of this meticulously-constructed music that sounds as if evolving toward the Jazz-Rock Fusion side of Rock Progressivo Italiano (similar to Milanese band Area). Lots of theatric effects are injected into the mix--both with the music and as bridges between motifs--as the musicians perform this complex, highly-syncopated music. The section spanning 6:00 to 9:00 is enjoyable for its more loose and flowing Jazz-Rock music with some great electric bass play and jazzy rhythm guitar and electric piano support. The peppering of choral harmonized vocal epithets from 8:20 to 9:00 signals a coming shift which comes in the form of a spacey synth section that starts to develop into a Celtic weave with the guitar and synthesizer's introduction of a folk melody in the tenth minute. By the 11-minute mark the new motif is just solidly established when the band take a sudden turn down a NEKTAR/SYNERGY-like psychedelic synth path, but this only lasts a short while before guitar-generated animal calls, recorded wave sounds, and synth flute present a calming motif of nature folk lullaby threads that are eventually woven into a gentle and loose weave but this turns sour at the end of the 16th minute before the band takes another sharp turn down a fairly-homogenous RPI road with awkward drum fills, choral vocal inputs, and odd synth and guitar flourishes all thrown together like a end-of-the-week stewp of scraps and leftovers. Overall, this is a very interesting and well-performed suite that is highlighted by both the impressively ordered syncopation and the wonderful section between 6:00 and 9:00. (35.5/40)

2. "Minorisa" (10:57) what plays out here is a suite that feels like a whole bunch of riffs and being forced into one flow in the same way that composers of the Nineteenth Century era of Classical Music might structure their more complex and shifting musics. I am duly impressed with the musicians' ability to pull off the performance of such a complex, labyrinthine composition but I do wish the music offered a little more prolonged sections of melodic and/or groove-oriented music for the listeners to engage and entrain with. As it is, the music might very well be representing the perspectives of soldiers on a military campaign through a wooded terrane alongside a twisting, turning river bed. Knowing these musicians' backgrounds, I'm sure they were very happy (and proud) of their rendering of this complex music but, from a listener's perspective, I wish there were more accessible sections--and ones that last a bit longer than that which is offered here. (Plus, I'm acting a bit petulantly as I came here under the promise of hearing some Jazz-Rock Fusion.) (17.75/20)

3. "Llaves del Subconsciente" (8:06) opening with a little weave of threads of unusual sounds coming from each of the musicians--one that reminds me of a folk street band whose sound is being delivered through kazoo-like sound-distorting (underwater) mouth-muffles. What I thought was going to be a brief introduction turns out to fill four of the five minute section that is entitled, "Parte 1: Mente." The second section leaps into a weave of totally-synthetic sounds, all generated by electronic synthesizers and drum machines (or sound garbling effects boxes). It's interesting, and somewhat enjoyable as one enjoys the sound manipulations that artists like Kraftwerk and the Berlin School electronica artists were exploring around the same time, but it is not really something I care to hear over and over. (13/15)

Total Time: 37:53

88.333 on the Fishscales = B-/3.5 stars; a fine collection of well-performed compositions of mathematically-demanding complexity that often use experimental sound explorations and sophisticated syncopation seemingly more for the sake of saying you can and did than for the sake of making good, enjoyable music for popular consumption. While I understand the allure of such experimentation and sophistication, I feel disappointed in the same way that I do when I listen to the albums of the wonderful virtuosi of the Milanese band AREA in that their obsession with sound experimentation and variation in musical structure led to their recording of songs that represent the excitement of the era do not stand up well to the mundane enjoyment standards smoothed over by the passage of time.

COLOSSEUM The Grass Is Greener (1970)

This album is apparently quite the anomaly in that most of these songs have appeared on previous Colosseum albums but here they employ a different lineup of musicians. Plus, this was an album that was released only in North America--which seems to indicate that the band (or record company) was trying to gain a foothold across The Pond--one that they had obviously failed to gain with their previous releases. The offerings here are jazz-tinged psychedelic rock album that predicts the music of GENTLE GIANT while reaching back to familiar West Coast psychedelic power rock bands like like The Doors, Spirit, as well as taking advantage of the way paved by more successful British Invaders like The SPENDER DAVIS GROUP, PROCUL HARUM, and LED ZEPPELIN. 

Line-up / Musicians:
- David Clempson / guitar, vocals
- Dave Greenslade / Hammond organ, piano, percussion
- Dick Heckstall-Smith / tenor & soprano saxophones, woodwind
- Tony Reeves / bass, co-producer
- Jon Hiseman / drums
With:
- James Litherland / vocals (3)
- Neil Ardley / string quartet arrangements (3), big-band arrangements (4)

1. "Jumping Off the Sun" (3:00) psych rock in a GENTLE GIANT vocal form. The music is a bit closer to the psych rock bands of the late 1960s--like SPIRIT but those vocals sound just Derek Shulman. The musicianship is very high, very tight. (8.75/10)

2. "Lost Angeles" (5:30) this one sounds like a sophisticated THE WHO song with Paul Weller singing the vocal. Drummer Jon Hiseman is so good that you can tell that the rest of the band feeds off of (or is driven by) his powerful skill. Great Jimmy Page-like guitar solo from David Clempson in the third minute. The rest of the band around him (including a second guitar track) are equally great: all focused on delivering the unmitigated CREAM-like power that Hiseman and the spirit of this song seem to demand/require. I can finally hear Dick Heckstall-Smith's sax in the final minutes of this one. Excellent song. (9.3333/10)

3. "Elegy" (3:26) a famous song that brings to mind both SPENCER DAVIS and BRIAN AUGER. Guest vocalist James Litherland has a great, soulful voice. The song's basic chord progression and melodic hooks work very well: a very memorable song. The role of the soprano sax and Neil Ardley's strings is noticeable but not a major contributor. (9.66667/10)

4. "Butty's Blues" (6:45) yes, full on organ-lead blues: the first song on which Dave Greenslade gets to really shine. He's very good--with an excellent horn arrangement behind him from Neil Ardley and excellent bass and drum play from Tony Reeves and Jon Hiseman. Once the amazing "big band" intro is over at 1:28, the song turns into a very typical blues/blues-rock tune--like something JOHN MAYALL or ROBIN TROWER would do. But then the horns return to remind us of the modern juxtaposition and Dick's tenor sax takes a solo in place of the second vocal verse. The dynamic whole-band finish is awesome! I normally don't like blues/blues rock but the participation of the horns makes this very dynamic and exciting. (13.5/15)

5. "Rope Ladder to the Moon" (3:42) an outlier in that this song had not appeared on any previous Colosseum releases, the song was picked up Jack Bruce and made more famous as one of his anthemic concert favorites. It is a very cool song with great vocal, lyrics, melodies, and full-band support music. Rated up purely on the vocal performance & clever lyrics (and delivery). I have the feeling that this song may also have been influential to Derek Shulman and his brothers. (9/10)

6. "Bolero" (5:28) one might laugh upon seeing this title on the page but the band actually do Ravel's original quite some justice with this heavy, full power-rock version. Nice keyboard and sax play over Jon's impeccable drumming, but it's David Clempson's fiery, bold-like-TERRY KATH electric guitar solo that really gives it its unique identity. It is one of those great, truly original and, therefore, iconic guitar solos. As a matter of fact, it's so good (and the rest of the bands' performance on his coattails) that you are actually transported into forgetting that this is Ravel's "Bolero"!! (9.125/10)

7. "The Machine Demands a Sacrifice" (2:48) another song lifted off of the previous year's Valentyne Suite album, this one has a psychedelic feel not unlike that of Iron Butterfly's "In-a-gadda-da-vida"--especially in the drum-and-bass-centered music. (8.75/10)

8. "The Grass Is Greener" (7:31) one of the pieces lifted from the actual "Valentyne Suite," this one is gentler and more prog-tempered than the album's other tunes--probably because it's an instrumental on which the band hope to show off their skills as musicians. I'm surprised at the uncredited full-horn ensemble opening as well as the slower TRAFFIC/Southern Rock tempo. It seems as if all of the band's instruments gain some showing here with full-spotlight solos from Hammond organ, bass, volume-pedal-controlled electric guitar, even sax and drums. The tempo shift into high speed for final three minutes (as well as the long, protracted dénouement at the end) will become such a template for so many Southern Rock bands like LYNYRD SKYNYRD, MOLLY HATCHET, CHARLIE DANIELS, and THE OUTLAWS. (The Allman Brothers were already doing it--so maybe Colosseum picked up the idea from them.) (13.125/15)

Total Time 38:10

I very much like this album: it has great musicianship--feeling as if each member of the band is fully committed to and engaged with each song. At the same time, despite the presence of horn sections on several songs and despite the excellent (probably virtuosic) musicianship, I could probably never be convinced that this music is Jazz-Rock Fusion. It's just progressive blues-rock psychedelia dressed up in some jazz fittings.  

88.125 on the Fishscales = B/four stars; though I find the skillful and tight musicianship on this album to be exceptional, the songs are not always aligned with my own personal preferences. At the same time, I can definitely imagine the success and popularity that an album like this would have created in 1970/71.

BURNIN' RED IVANHOE Burnin' Red Ivanhoe (1970)

The second album released by Denmark's first progressive rock band results in a cornucopia of psychedelic rock with some infusion of jazz, though more blues, sounds and instruments.

Line-up / Musicians:

- Ole Fick / electric & 12-string (2) guitars, vocals

- Kim Menzer / mouthharp, trombone, tenor saxophone, flute, percussion (2)

- Karsten Vogel / soprano & alto saxophones, organ, piano (3)

- Jess Stæhr / bass, acoustic guitar (2)

- Bo Thrige Andersen / drums, percussion (2)

1. "Across The Windowsill (7:40) rooted in psychedelic pop music of the Argent/Animals ilk, this is a song that sounds like it could have come from the Sixties. Oh. Wait! It did! Four chord rock for the jam in the third through minutes over which Ole Fick solos on his electric guitar. Karsten Vogel's organ sound and riffs are straight out of the Animals' repertoire and Ole's voice is pure late Sixties Steve Winwood or Mark Farner. The most interesting thing in the song is the weird sounding saxophone soloing through the seventh and eighth minutes. All in all it's a very solid song for its time. (13.25/15)

    

2. "Canaltrip" (5:21) with their acoustic instruments only we get a conglomeration of Django-ed "Take Five" played in a relaxed Beatnick circle. Two acoustic guitarists, two percussionists, and Kim Menzer's tenor saxophone playing over five minutes of a two-chord cycle. Interesting--especially the purposely-raunchy sax play--but not sure it's worth five minutes of attention. Though Kim's sax play is awesome (as far as saxophone play goes), perhaps this one would have been better off left in the practice room. (8.75/10) 

3. "Rotating Irons" (8:19) harmonica leads us into a very laid-back, San Francisco-sounding blues-rock tune. Nice, steady play from the Lou Reed bass and drums. Free floating bluesy electric guitar joins for a bit before Ole Fick enters with a raspy shout vocal. This is as good as anything coming out of the U.S.'s West Coast psychedelic scene of the late 1960s. A slight increase in both tempo and intensity occurs at the end of the fourth minute as the organ's two chords and Kim's mouthharp rejoins, but it's really Ole's show: guitar and vocal alternating in the spotlight like a true star of the blues (B.B. King comes to mind). Very solid and engaging for this kind of music. (18/20) 

4. "Gong-Gong, The Elephant Song" (5:40) opens with one chord held long and hard while multiple horns spin around with the shaker percussion. Then the band jumps into gear with a near-surfer three-chord guitar riff repeated ad nauseum within a rhythm section that is moving along at a runner's pace. Kim's mouthharp takes the lead for a good long minute before any sign of the reeds returns, but then a motif switch allows the alto sax to grab the lead while the band returns to the pseudo-surfer motif.around the four minute mark the wind group comes together for a bit to announce room for the second saxophone, and then it just kind of ends, with each instrument sticking around a bit as if unsure if they're really supposed to stop. Nice solid jamming that yields nothing very memorable. (8.75/10) 

5. "Near The Sea" (3:58) here Ole sings as if he's Electric Dylan while the band accompanies him with some gentle folk R&B. Electrified folk, if you ask me. (8.75/10)

6. "Secret Oyster Service" (9:48) five minutes of spacious, pensive, bare-minimum of instrumental support for an extended tenor saxophone solo before the band breaks into a "I'm Just a Singer in a Rock 'n' Roll Band"-like rock motif only to continue to support a now-more frenetic saxophonist. in the eighth minute a second saxophone starts his engine and gets into the act while the others continue their crazy pace down the mountainside. While Karsten Vogel's alto screeches and wails, the rest of the band coalesces into a harmonically-texturalized flow for the big finish. Okay; that was that! (17.25/20) 

Total Time: 40:46

I'm not convinced this album should be anywhere near the Jazz-Rock Fusion classification; if it's due to their future production (and Kim Menzer's wind instrument acumen), I get it, but I'll not be including this album among the mainline J-R F albums.

87.94 on the Fishscales = B/four stars; a nice display of burgeoning talent getting their chops in line. Not sure I'd recommend this album to anyone other than the die-hard fans of 1960s blues psych but it's not bad! 

CHASE Pure Music (1974)

The third and final album from this stellar group of brass rock musicians.

Line-up / Musicians:

- Bill Chase / trumpet, electric trumpet, flugel horn

- Jay Sollenberger / trumpet

- Joe Morrissey / trumpet

- Jim Oatts / trumpet

- Wally Yohn / keyboards

- John Emma / guitar, vocals

- Dartanyan Brown / bass, vocals

- Tom Gordon / drums

- Jim Peterik / vocals

1. "Weird Music No. 1" (5:38) as if trying to meld several style/traditions together at once--over a kind of Spanish foundation. Weird? Yes. Remarkable. Also yes. Great (and inventive) horn arrangements with the weird synth (and keyboard) work of Wally Yohn. I love the big horn build up around the four-minute mark before backing off for bass and tubular bells to fill beneath as more weird keyboard sounds gradually join in. Interesting. (8.875/10)

2. "Run Back To Mama" (3:11) a BLOOD SWEAT AND TEARS revival/update song. (8.75/10)

3. "Twinkles" (7:12) swirling piano arpeggi with beautifully melodic flugelhorn soloing over the top. bass and drums join in in the second minute. At the four minute mark everybody backs out so that the bass player, Dartanyan Brown, can have an extended solo all on his own. The others slowly rejoin in the fifth  minute, at first in support but then merging into a variation of the song's original Alice Coltrane-like motif. (13.25/15)

4. "Bochawa" (5:47) uptempo blues-rock music with weird synth and support from the band of horns. Nice horn solos between two trumpets as the other trumpets accent and support from behind. The song builds and builds in intensity into the fourth minute before a very funky Hammond organ solo takes over the lead. The horn section gradually rejoin--at first as if far in the background, but then stepping closer and closer to the front. Pretty cool stuff! Did I mention how great the bass and drums are? It seems as if everybody is screaming at the top of their volume scales in the last minute. Great horns and solos over kind of standard musical foundation. (8.875/10)

5. "Love Is On The Way" (3:45) okay vocal song probably meant to be radio-friendly. (8.5/10)

6. "Close Up Tight" (7:36) built over a funk groove from the rhythm section that sounds as if it were lifted from CHICAGO's "Introduction" from their 1969 debut album, Chicago Transit Authority. Not up to the dynamic and enthusiastic standard set by the original. I love the experimental synth sound used by Wally Yohn in his extended solo in the fifth and sixth minutes: it may, in fact, have saved the song for me! (13.25/15)

Total time 33:39

This album sounds far more commercial and radio-oriented and far less Stephen Schwartz-like. 

87.86 on the Fishscales = B/four stars; an excellent addition to any prog lover's music collection--especially if you love amazingly tight arrangements of top notch brass sections. 

FROM 0611 Cat Quarter (1971)

Early German blues-jazz obviously inspired by the new electric developments coming from New York City as well as the portable electric organ work of some of the extraordinary keyboard players who were pushing boundaries in the late1960s. One thing that makes this album stand out is that it is made up entirely of original compositions--mostly by saxophonist Gustl Mayr.

Line-up / Musicians:

- Gustl Mayr / tenor saxophone, soprano saxophone, composer

- Dieter Von Goetze / electric bass

- Kurt Bong / percussion, drums

- Klaus Gobel / organ, composition (1) 

1. "Lollipop Mainliner" (4:22) sounds so Sixties-ish: like a mash up of "surf rock" and organ blues-rock. The construct definitely comes from the blues idiom. Interesting long slow down at the three-minute mark followed by the reprise-restart of the main theme to close. (8.75/10)

2. "Goose Pimples" (4:42) opens up sounding like a variation on Gerwshin's "Porgy and Bess," but then it goes full blues with some soprano saxophone soloing above the organ, bass, and drums. Organ takes over the lead soloing throughout the second minute before giving way to the sax again. (8.75/10)

3. "Chicks" (4:25) James Brown-like R&B--like "Mustang Sally" with a slight influx of surfer music. (8.5/10)

4. "Gargoyle" (4:46) the closest song to proto-prog Blues-Rock like something Brian Auger, Rod Argent, or even Keith Emerson might do. Gustl Mayr's wonderful soprano sax play is more akin to that of John Coltrane. This song really swings! My favorite song on the album. (9/10)

5. "Mood Blue" (4:10) a great movin' Jazz-Rock piece which really showcases Klaus Gobel's talents on the organ. The chorus bridge is a bit like the structure and chords of Steve Winwood's "I'm a Man." (8.875/10)

Side Two: "Fancy Suite" :

6. "Cat Quarter" (5:49) more organ and sax supporting jazzy R&B. (8.75/10)

7. "Dig It" (5:28) old-time blues construct that was probably very popular in the band's local beer halls. Sax gets the lead over the standard jazz drumming and fret-walking bass line but, of course, Klaus gets his time in the sun as well. (8.6666667/10)

8. "Fancy Soul" (5:15) opens with some adventurous bass play before sax, brushed drums, and sustained organ chords join in. This is jazz from the deep South: sad and emotive. Nice work from bassist Dieter Von Goetze and Gustl Mayr on the soprano sax--and I really like Klaus's restrained, respectful organ: giving full support and shine to Gustl. At the halfway point Gustl takes over the lead, mirroring Dieter's melody lines with great care and respect while still adding his virtuosic riffs and flourishes, and then Dieter is given the lead for the final minute and more. Nice! Another one of my top three songs. (8.875/10)

9. "Ruck-a-Sack" (4:10) another song that feels as if it would have been a great favorite in the local pubs and beer halls--it feels like an "old standard": full of simple catchy melodies and playing patterns. Nice cymbal play from drummer Kurt Bong. (8.666667/10)

Total time: 44:46

On the positive side, these songs are all recorded extremely well: with all instruments being rendered clearly and cleanly defined, but the soundscapes are a bit too sparse and spacious for my tastes. From a distance, this really is less Jazz-Rock Fusion despite its used of electric bass and organ; it's more jazzy Blues Rock.

87.59 on the Fishscales = B/four stars; a beautifully-rendered collection of original music that all feels familiar in the way that popular jazz "standards" do. If you like melodic organ and sax play within a competent jazz combo, you might love this.

BURNIN' RED IVANHOE WWW (1972)

More psychedelia with more effected sound production and some jazz and proggy tendencies.

Line-up / Musicians:
- Ole Fick / guitar, percussion, vocals
- Kim Menzer / violin, trombone, flute
- Karsten Vogel / soprano & alto saxophones, organ, piano, composer (excl. 6)
- Jess Stæhr / bass, percussion
- Bo Thrige Andersen / drums

1. "The W.W.W. Suite":

- i. "Second Floor, Croydon" (8:37) Ole sings in a John Lennon-effected voice over some John Lennon-like music to open this one before the spacious pause in the beginning of the second minute which ends with the band launching into a Brit-Rock sounding pseudo-R&B theme. Sounds like BR Ivanhoe's version of "Don't Let Me Be Misunderstood." The sound engineering is different from their previous album: more effects used on the bass and vocals with warmer treatments given to the organ, drums, and flutes--and with everybody brought more forward in the mix, making it much more intimate, as if the listener is inside the instrumentalists' circle on stage instead of 20 feet away. The organ, drums, and guitar playing are rather primitive while the vocalist and seem more adventurous. Nice sound but a little too primitive to garner high marks. (17/20)

- ii. "W.W.W." (6:07) droning amplifier feedback sound opens this one, holding for quite a while as organ, bass, cymbals, and violin gradually add their subtle experimentations and interjections. This loose weave of cacophonous tuning and warmup jamming continues well into the second half of the song until some peaceful flute- and whale-like violin notes seemingly soothe and calm the rest of the band members. Very interesting and, I have to admit, somehow enjoyable--not unlike a POPOL VUH listening experience. (8.75/10)

- iii. "Avez-Vous Kaskelainen" (4:47) the band here slowly congeals into a "Driver's Seat"-like organ-driven groove within which wah-wah-ed violin and electric guitar flit and float. Like an experimental DOORS jam that never made it to album. (8.75/10)

- iv. "Kaske-Vous Karse Mose" (3:49) Karsten Vogel's soprano sax gets to lead this with some nearly free-jazz playing, but not before his organ and Kim Menzer's flute set up a hypnotic, nearly-Krautrock foundation. Also featuring multi-tracking! (8.875/10)

5. "All About All" (4:08) strummed John Lennon-like acoustic guitar opens this one before the band jumps into a BADFINGER-like pop song about the band's history: musically and geopolitically. Fun and funny with some nice soprano sax playing throughout. (8.875/10)

6. "Oblong Serenade" (6:25) another Beatles imitation, this one from the Fab Four's psychedelic peak years. Pounded piano, trombone, and multiple track dedication to loose drunken-fun vocals gives it a lot of Magical Mystery Tour feel--as does the kazoo-like soprano sax play in the third minute. At 3:47 Jess Stæhr and Bo Thrige Anderson double the pace, providing the impetus to the rest of the soloists to up their energy levels--which Karsten Vogel, Ole Flick, and even a weak Kim Menzer do nicely on. their sax, electric guitar, and trombone, respectively. (8.875/10)

7. "Cucumber-Porcupine" (5:21) bass, bass drum, guitar, and alto sax all chime in on punctually playing a "Stand By Me"-like progression of riffs before flute, sax, and group choir vocals peel off to make their own melody lines. Drummer Bo Thrige Anderson eventually smooths out his rhythmic support into more of a rock style, but the bass and electric guitar continue to chug through the song's original staccato progression till the very end. The happy song seems to want to end the album with a feeling of laid-back cohesion and commisseration--as if we're all in this together and it's gonna be all right. Nice. (8.875/10)

Total Time 39:14

While I like the new, richer sound palette and experimental moods of the band being expressed on this album, I do not think it to contain many memorable songs: so many feel unfinished, as if the band were using these studio sessions to become more proficient with the new (and old) sounds of their instruments, work out new ideas and skills, as well as try to figure out how the individual band members can better serve the needs of the collective. Once again, I cannot in good faith consider this album a shining example of Jazz-Rock Fusion music; there is more of a jazz-like experimentalism being expressed here, but there is really very little jazz. More R&B than jazz. 

87.19 on the Fishscales = B-/four stars; a likable collection of songs in which a band is doing a lot of experimentation. But the question must be asked: How much of it is for themselves and their own growth and entertainment and how much for their audience? 

DZYAN Electric Silence (1974)

The Mannheim band's third and final album sees them turning away from their more fiery, Mahavishnu-influenced free-form Jazz-Rock Fusion of the previous year's Time Machine in lieu of incorporating more Indian sounds and improvisational forms.

Line-up / Musicians:
- Eddy Marron / acoustic, 6- & 12-string guitars, sitar, baglama, tambura, Mellotron, vocals
- Reinhard Karwatky / 4- & 8- string basses, 4- & 5- string double basses, Super String synth, Mellotron
- Peter Giger / drums, percussion

1. "Back to Where We Come" (8:57) a slow gathering of momentum by percussion instruments, bass, and guitars. Satisfying and interesting, especially for the study of talented/skilled musicians taking on foreign forms and instruments, but hardly memorable. (17.25/20)

2. "A Day in My Life" (4:03) all I hear beneath the double bass and sitar is Eddie Grant's "Down to Electric Avenue"! (8.75/10)

3. "The Road Not Taken" (4:54) more mindless (or, perhaps, more accurately, expanded minded) free form primordial soup. Again, you can tell that the musicians are skilled--and it is notable that they seem to be flowing-flying in the same direction, in a fairly unified direction, but not the kind of song you teach your kids to hum along to. More like a drug-trip jam captured on tape. (8.6667/10) 

4. "Khali" (4:55) electric guitar jamming over percussion play and celestial Mellotron chords of angel voices. Reminds me of YES' Tales from Topographic Oceans (which was released on December 7, 1973) as well as the "Internal Fire" sections of Todd Rundgren's "A Treatise on Cosmic Fire" (which would not be released until May of the next year, 1975). (8.875/10)

5. "For Earthly Thinking" (9:38) more layers of hand and mallet/stick percussion with moving flute-like Mellotron notes and chords open this before Eddy's baglama strumming, Reinhard's thrum-like sliding bass notes, and Peter's talking drums take over. In the fourth minute Peter switches to steel drums while Reinhard picks up some fretless bass and Eddy takes on some mouth horn and, later, wicked-fast strumming on an old out-of-tune acoustic guitar. By the eighth minute Peter seems to be the only musician providing music with multiple tracks dedicated to a percussive weave, but then Eddy rejoins, Peter quiets and gradually backs out completely. Then end. Interesting but, in the end, my reaction is "What was the point?" I mean, it captures a one-time jam in which the band members show off a bunch of instruments--which is great--but how does humankind benefit from this historical documentation? (17.25/20) 

6. "Electric Silence" (4:30) using fully-electrified (Mahavishnu-like) guitar, Western drum kit, and bass as a trio, the music has more substance and form, more merit for inclusion as a Jazz-Rock Fusion song. It's good but not great. (8.875/10)

Total Time 36:57

A collection of rather loose and formless Indian-influenced umprovisational jams from three quite proficient and creative multi-instrumentalists, I can see the tendency of wanting to incorporate the band into the Jazz-Rock Fusion idiom but the music of this album hardly even qualifies other than being improvisational music performed by classical and jazz-trained Western musicians.

87.08 on the Fishscales = C/three stars; perhaps a great display of improvisational Kosmisches Musik (I'm not even sure this could be said) or World/Ethnic Music, but a rather poor display of Jazz-Rock Fusion.

OUT OF FOCUS Out of Focus (1971)

The sophomore studio album from these talented München-based musicians. 

Line-up / Musicians:
- Remingius Drechsler / guitars, stylophone, tenor saxophone, flutes, voice
- Hennes Hering / organ, piano
- Moran Neumüller / soprano saxophone, vocals
- Klaus Spöri / drums
- Stephen Wishen / bass

1. "What Can a Poor Boy Do" (5:52) URIAH HEEP-like Hammond organ-led music over which Moran Neumüller gives an acerbic Damo Suzuki-style vocal performance. Moran's sax and Hennes Hering's organ have turns soloing and amping up the angst of the song in the sedcond and third minutes before bass and guitar take a turn "conversing" over Klaus Spöri's delicate cymbal play. The song continues to play out with alternating, sometimes brief and conversant blues-rock soloing for the duration of the song to its odd/cutesy end. Oh, no! Is the band stepping down: settling for lower, more radio-friendly styles and  standards? That would be such a shame--especially after their amazing debut album from the year before. (8.6667/10)

 
2. "It's Your Life" (4:31) folk-sounding picked acoustic-guitar-based music that sounds just like British Prog Folk bands SPIROGYRA and/or COMUS. No drums, electric bass, organ, flute, and second or third acoustic guitar tracks accompany Moran's Martin Cockerham-like voice. (8.875/10) 

3. "Whispering" (13:34) very sparse organ and cave-immersed whisper-spoken vocal open this one before the full band takes over at the end of the first minute. There's a little jazziness in this due to weave of the wah-wah-ed guitar, organ, and tenor saxophone--but they're all playing such simplistic melodies within the two-chord weave. Really disappointing. More like spiritless, automaton play of the "Dark, darker" final song of the Wake Up! album (the only disappointing song on that album). As the horns and organ support Remingius Drechsler's extended electric guitar solo throughout the fifth, sixth, and seventh minutes the listener achieves a numbed state of hypnosis due to the droning repetition of the rhythm-keepers. Sax takes over the lead in the eighth minute while the others drone CAN-like underneath. (25.75/30)    

4. "Blue Sunday Morning" (8:20) swirling Hammond organ played over plodding dreary, leaden drone-like Krautrock supports Moran's Mick Jagger-in-a-heroine-stupor spoken vocal. In the sixth minute the bass, organ, and drums begin to ramp up their intensity while Moran's vocal becomes more insistent, but then the unique sound of a "Stylophone" (like an early version of a Casiotone) begins an extended solo--which sounds like George Harrison singing along with one of his electric guitar solos from the same period. The music beneath takes on an outro jam in the vein of URIAH HEEP or TRAFFIC as the music plays on and out--fading out over a period of 25 seconds. (17.5/20)

5. "Fly Bird Fly" (5:09) flute soloing with less mellifluous flow, more jumping around in a staccato fashion, as picked guitar supports before the full band joins in with a bluesy-jazz motif that sounds a lot like something by VAN MORRISON from the same period. Mick Jagger vocals are followed by some nice swirling organ and clear-toned electric guitar solos. (8.66667/10)

6. "Television Program" (11:45) I knew it was only time before Moran could suppress one of his long, impassioned social justice speeches. The music in support is solid and tightly performed but, once again, too drone-metronomic with another two-chord motif spanning the first seven minutes. A quiet passage in the eighth minute precedes a more potent VAN DER GRAAF GENERATOR/SEVEN IMPALE-like two-chord saxophone-led motif that takes us out for the final three-plus minutes of the album. (21.875/25)

Total Time: 49:11

I'd call this album quite a step down from the focused energy of their debut; it's as if they had fallen under the spell of the CAN-like pioneers of rhythmic drone music that we call and associate with the term "Krautrock." I have not, however, fallen under this same spell--occasionally a song evokes that "Kosmische" feeling in me, but, for the most part, no.   

86.98 on the Fishscales = B/3.5 stars; not the album to start your introduction to this immensely-talented band; this is very much a disappointment when compared to the band's debut but even moreso when placed alongside the three albums of recorded material that came after (all of which came from the recording sessions that turned out the band's third and final album, 1972's Four Letter Monday Afternoon). I recommend that you skip this one and go right to the excellent Four Letter Monday Afternoon, Not Too Late, or Rat Roads.

MOGUL THRASH Mogul Thrash (1971)

Recognize any of those band members' names? Right!?!? Was this an early "supergroup"? Not when several of the future superstars had not yet made names for themselves.

Line-up / Musicians:

- James Litherland / guitar, vocals

- Malcolm Duncan / tenor saxophone

- Michael Rosen / trumpet, Mellophone, guitar

- Roger Ball / alto, baritone & soprano saxes, brass arrangements

- John Wetton / bass, guitar, vocals

- Bill Harrisson / drums

With:

- Brian Auger / piano (5), producer

1. "Something Sad" (7:32) Britain's answer to brass-rockers CHICAGO. (13/15)

2. "Elegy" (9:37) The GUESS WHO's "No Time." Melodic when it becomes vocal-driven like Canada's LIGHTHOUSE. Quite nice rock 'n' roll but this is no Jazz-Rock Fusion. (18.25/20)

3. "Dreams Of Glass And Sand" (5:07) nice drum intro is filled out with highly-coordinated and syncopated guitar, bass, and horns to support James Litherland's (and John Wetton's--in b vox role) vocal. Nicely composed and performed. Drummer Bill Harrisson is impressive. (8.875/10)

4. "Going North, Going West (part 1)" (5:00) a bit of an ALLMAN BROTHERS feel to this one due to rhythm guitar and James' lead vocal sound and melody style. Nice when the sax gets to soloing in fourth minute. (8.75/10)

5. "Going North, Going West (part 2)" (7:07) the slowed down, sparsely populated lull after the saxophone storm. The instrumental portion is pure TERRY KATH Chicago, the vocals toward the end a return to a kind of LIGHTHOUSE/ALLMAN BROTHERS sound. (13.5/15)

5. "St. Peter" (3:39) pure pop-rock. (8.5/10)

6. "What's This I Hear" (7:17) Led Zeppelin-like B-grade Blues Rock (The GUESS WHO); not even remotely j-r fusion--not even the gentle saxophone lull in the fourth minute can make it so. (12.75/15)

Total Time: 47:57

An album of far more rock-infused music than your serious American Jazz-Rock Fusionists (a term that had not yet been coined much less accepted in the music world), BLOOD SWEAT AND TEARS, early CHICAGO and of course COLOSSEUM are the bands that come to mind as I listen to this. Great drumming and horn arrangements with some overplaying by aggressive bass player John Wetton (a problem I have with his bass playing throughout his career). 

86.97 on the Fishscales = B-/3.5 stars; good but not top notch by any stretch of the imagination--especially the further you progress into the album. 

EXMAGMA Goldball (1974)

Though started by Detroit-born American German-based soldier Fred Braceful, this German trio really packs a punch--and displays some very progressive writing and recording techniques. 

Line-up / Musicians:
- Thomas Balluff / organ, electric piano, clavinett-c effects
- Fred Braceful / sonor drums, percussion extraordinaire
- Andy Goldner / fretless electric bass, electric guitar, alto sax, tape recorder

1. "Marilyn F. Kennedy" (2:30) an awesome super-funky bass and clavinet-heavy high energy weave of organ, bass and drums that sound as if they're right in your lap (or brain)! (9.25/10)

2. "Dada" (3:36) slowing it down with space and multiple tracks dedicated to each musician for two electric pianos, bass and two guitars and lots of drum and percussive sounds, this three-part song definitely succeeds in rendering Dadism unto music. The final section has some awesome searing soloing from a heavily-treated electric guitar. (9/10)

3. "Adventures With Long S.tea" (2:53) again multiple instrumental tracks given to each performer, the slow, heavy, almost plodding weave has quite the math rock sound and formula--almost in the realm of KCRIMSON Red or "Discipline." Nice display of skills. (8.875/10)

4. "25 Two Seconds Before Sunrise" (4:53) spacey/psychedelic blues-rock on display here with some very interesting special effects and excellent superfluous percussion work. The first couple minutes feel as if the band is just showing off its sounds without every really congealing into a song with purpose, but then it never does meld into anything other than a plodding display of effects. (8.66667/10)

5. "Groove Tango Wolperaiso" (2:35) an étude of fusing blues with rock using all kinds of riffs pasted together with a glue of electronic/engineering effects. Very weird and, I have to say it: very German. (4.375/5)

6. "Jam Factory For People Insane" (4:04) with its Iggy Pop-like Beat era or punk rock vocal performance, this one comes in with quite a little surprise. After the vocal intro section, the song contains quite a display of drum and percussion acumen while rhythm guitar, bass, and organ play mathematically-conjured chords in support like robots, then it devolves into a TODD RUNDGREN-like A Wizard, A True Star-like party. (8.75/10)

7. "Habits" (5:57) like something off of Miles' Bitches Brew or Herbie's Mwandishi albums, this is bass and guitar-driven song is very spacious allowing it to contain lots of layers of busy-ness. (8.75/10)

8. "Dance Of The Crabs" (0:53) another little étude based on a circular chord sequence. (4.375/5)

9. "Greetings To The Maroccan Farmers" (6:36) opening with noises as if from a kitchen or workshop, the clearing of one's nasal passages signals the introduction of some actual musical instruments: piano with drum preparation sounds and percussion and, later, strums and hits on the frames and strings of various stringed instruments (including a snare drums' steel coils, a zither, and some unplugged electric guitars), breathy horn blows, shakers, nose flutes, goats bleats, more clanging of kitchen and workshop utensils and containers, all the while the piano playing a kind of soundtrack to rodent activity. All in all, a very interesting attempt at rendering a soundtrack to a real world situation (a Moroccan farm). Interesting but was this really necessary? Especially as the album's longest song? (8.5/10)

10. "Last But One Train To Amsterdam" (0:56) another brief whole-band dive into a mathematically-constructed chord sequence. (4.375/5)

Total Time: 34:53

Overall, I appreciate the talents and skills of the musicians but more I find myself enjoying and awed by the visionary recording and engineering techniques on display here: these guys are very uniquely focused, adventurous and gutsy! 

86.96 on the Fishscales = B-/3.5 stars; despite the engineering prowess and obvious instrumental talent on display here, the album is not a very successful display of rock, jazz, jazz-rock, Jazz-Rock Fusion, or progressive rock; this is more the type of songs collected by Krautrock bands like Neu, Faust, or perhaps Can. 

JAN GARBAREK QUARTET Afric Pepperbird (1970)

Jan's second album, his first with Manfred Eicher's ECM label.

Line-up / Musicians:

- Arild Andersen / bass, piano (thumb), xylophone

- Jon Christensen / percussion
- Jan Garbarek / clarinet, flute, percussion, saxophones [bass, tenor]
- Terje Rypdal / bugle, guitar

A1. "Scarabée" (6:15) kalimba, cymbals and other percussion play, long notes from a gentle saxophone, guitar chords, all building very slowly--like the discoveries in a detective spy novel. Impeccable sound rendering of music that seems to go for an effect, a setting, more than a structured song. Not the kind of musical listening experience (or even participatory experience) that I enjoy--unless in an Orff music class with the preschoolers and kindergarteners. (8.25/10)

A2. "Mah-Jong" (1:50) bass, cymbals, bass drum, snare drum, chromatic and dissonant guitar notes, chords and sounds, percussive play of other stringed instruments (like autoharp?). Intro to a Beatnik sit in. (4/5)

A3. "Beast Of Kommodo" (12:30) the first song that has some structural elements that I can hook into:  Arild's adherence to a steady four-chord line of bass chords, Jon Christensen's cymbal and big tom interplay, Terje Rypdal's gentle finger-plucked guitar chords (complementing Arild's bass chords until the seventh minute when the two separate), and Jan's mellifluous and innocuous sax play. Once Terje's chord play deviates from Arild's, Arild and Jon really go off into their own lands (with Jan picking up some percussion along the way). It is truly remarkable how melodic Jon Christensen's drum play is: such a master and virtuoso! The rhythm section reins themselves back in (now playing a different pattern) while Jan picks up different instruments like flute and bent sax notes and Terje begins to express more in single notes and blues-rock chords à la John Tropea and Eric Gale. Overall I find myself really liking this: more for the skills on display and non-discordant melodies the individuals choose to employ. The odd 30-second bass and flute finale is weirdly sliced onto the end for reasons I know not. (22.5/25)

B1. "Blow Away Zone" (8:35) more odd percussion work as Jon Christensen "splits himself" into half cymbalist, half tom-tom player. Terje's unconventional scraping of his guitar strings and odd striking/strumming of the non-fretted parts of his guitar strings takes the lead for a bit before Jan enters playing a crochety old bass sax with minimal care for the initial sounds he's creating. Eventually he reins it in and starts playing clearer notes and runs while Arlid's bass walks aimlessly around the fretboard, but Jan continues to mix in the scratchy, screechy atonal notes while Jon continues exploring his own Venn overlap of cymbals and toms and Terje continues playing parts of his guitar that aren't meant to play pleasant ear-charming music. Around the 6:00 minute mark every one stops to watch (I don't imagine they're drawn to listen) as Jan's screeching goes completely off the charts: sounding more like scared/dying seals, walruses, mandrills, and baboons than saxophones. Then everybody rejoins to contribute their own alien animal language inputs to bring the "song" to a close. The skill level and command of their instruments are extraordinary; the music not so much. (17/20)

B2. "MYB" (1:50) Beatnik bass, soft malleted toms and brushed snare, bent note guitar, and toneless, melody-less sax. Okay: where's the poet. (4/5)

B3. "Concentus" (0:47) like a top notch orchestra pit tuning and coming into entrainment. (4.5/5)

B4. "Afric Pepperbird" (8:00) I can definitely hear structure in this song: a set drum pattern, a melodic repeating bass line, rhythmic and melodic guitar and sax play. Overall, quite an enjoyable and image-evoking music experience. (13.5/15)

B5. "Blupp" (1:05) toms, sticks, and bird-like human-made vocal blips, all syncopated as if played by a trio of curious chimpanzees. (4.25/5)

Total Time: 41:27

As praised and acclaimed as this album is I cannot for the life of me pinpoint why--unless it is The Esoteric Circle's disdain for known forms, sounds, and structures while virtually eschewing the avant garde "free jazz" or "third stream" (perhaps expressing a little nostalgic holdover from the lost era of the Beat Generation).

86.667 on the Fishscales = C/three stars; I'm sure the musical knowledge and skill necessary to play this stuff is off the charts, but this is no music for me--and it is definitely nowhere near anything that fuses "rock 'n' roll" with "jazz" music! 

DZAMBLE Wołanie o słońce nad światem (1971)

A very successful album release this Polish band that sadly disbanded soon after its publication. 

Line-up / Musicians:

- Andrzej Zaucha / vocals

- Jerzy Horwath / organ, piano

- Marian Pawlik / bass, guitar

- Jerzy Bezucha / drums

- Benedykt Radecki / drums (10-12)

With:

- Marek Ałaszewski / vocals (5, 6)

- Marek Pawlak / vocals (5, 6)

- Janusz Muniak / flute, soprano & tenor saxophone

- Zbigniew Seifert / soprano saxophone (6, 7, 9)

- Tomasz Stańko / trumpet (6, 7, 9)

- Michał Urbaniak / bass, soprano & tenor saxophone, violin

- Jerzy Bartz / drums (1, 5, 9)

- Józef Gawrych / drums (1, 5, 9)

- Kwartet wokalny / backing vocals (2)

- Kwartet smyczkowy / string quartet (7)

1. "Święto strachów" (5:10) (8.66667/10)

2. "Hej, pomóżcie ludzie" (2:45) a song with an anthemic chorus that sounds like it was probably a big hit in Poland. (4.5/5)

3. "Muszę mieć dziewczynę" (3:02) violin is prominent contributor to this one. (8.66667/10)

4. "Naga rzeka" (4:57) the flute-led instrumental passage in the middle is founded on a motif sounding very much like Carole King's "I Feel the Earth Move." Nice song. (9/10)

5. "Dziewczyna, w która wierzę" (3:44) great Latin-oriented CHICAGO-like beat and rhythm track supports some interesting choral vocals that sound like something coming from a Cuban brass band! Once again the motif used for the instrumental section feels borrowed.  (8.75/10)

6. "Masz przewrócone w głowie" (3:28) sounds like a borrowed Aretha song usurped by macho men and a gospel choir. (8.5/10)

7. "Wymyśliłem ciebie" (2:59) half Bond cinema, half Chicago/Andrew Lloyd-Weber Jesus Christ Superstar. (8.75/10)

8. "Szczęście nosi twoje imię" (3:15) except for the John Coltrane-like soprano sax work, this one is very close/imitative of BLOOD, SWEAT AND TEARS. (8.5/10)

9. "Wołanie o słońce nad światem" (10:36) a not very successful blend of DOORS-like pop music with big band progressive jazz. I wish it weren't the case but this is the weakest song on the album--a blending of styles that feels more like a medley of hits than a prog/jazz suite. (17/20)

Total time: 39:59

More proggy and brass poppy than Jazz-Rock Fusion, it's very vocal-centric. I'm told that I would like this album much more if had command of the Polish language. Vocalist Anrzej Zaucha commands a very respectable voice sounding like a cross between Greg Lake and David Clayton Thomas. I don't like or approve of the band's habit of usurping music from big American hits for the instrumental passages even if they do have good taste in the song motifs they "borrow." It's masterful but hardly indicative of a band that wants to create their own compositions and sound--more like that of a cover band in the process of converting to/experimenting with original compositions.

86.67 on the Fishscales = C+/3.5 stars; a creative and synthesizing band of pop-oriented rockers whose music draws a bit too much from other artists. As musicians they are very good. Their excellent vocalist would go on to achieve martyr-legendary status after an early death.

DEMON FUZZ Afreaka (1970)

An odd cornucopia of blues-rock, brass-rock, jazz-rock, Afro-rock music that gives the listener the feeling that this band was still forming, still trying to figure out the direction it was going to go with its music.

Line-up / Musicians:

- Sleepy Jack Joseph / bass

- Ayinde Folarin / congas

- Paddy Corea / congas, flute, saxophone

- Steven John / drums

- W. Raphael Joseph / guitar

- Ray Rhoden / organ, piano

- Clarance Brooms Crosdale / trombone

- Smokey Adams / vocals

A1. "Past Present And Future" (9:50) heavily-distorted rock bass play with the accompaniment of cymbal play opens this one before sax, trombone, and electric guitar join in acting as a kind of horn section. W. Raphael Joseph's guitar takes the first solo, a brief one, before Ray Rhoden's organ takes over while the bass and percussionists below keep the momentum moving forward. Sleepy Jack Joseph's two note bass line gets rather annoying so I feel quite relieved when the music shifts at 4:20 to a more R&B-oriented parade plod. The horns feel as if they're supposed to be the featured sound in this section but they don't do anything exciting or adventurous. Then a little bridge at the six-minute mark signifies a shift into a keybaor-less section in which Raphael solos again (again briefly). Then the organ returns and another very monotonous four-note rhythm track is established to support a trombone solo. This music is so very simple! Even the drumming sounds so rudimentary (not to give the drummers rudiments a bad name). (16.5/20)

   

A2. "Disillusioned Man" (4:58) nice conga rhythm track opens this one before Keith Emerson-like organ joins in, leading the in-rushing of the rest of the bands, this time with sax acting more alone. Vocals start before the end of the first minute, a kind of Soulful variation of the BLOOD SWEAT & TEARS shtick. Smoky Adams has a nice voice: he pulls of some nice melody-making with some thoughtful lyrics over some very interesting music. The now-interesting near-minimalist weave then supports an extended soprano sax solo from Paddy Corea. (His instrument sounds much like an Irish Uilleann pipes.) A much more impressive song than that sad opener. (8.875/10)

  

A3. "Another Country" (8:28) after hearing the opening of this, the album's third song, I had to check back with the year of publication of this album: its rhythm tracks sound so 1969/70 Blood Sweat & Tears/Chicago Brass Rock! More singing on this one--a song that is more complicated musically, which makes Smokey Adam's job more difficult (finding a catchy, smooth-flowing melody to fit this herky-kerky music would be tough). A big shift into a different motif occurs in the third minute to what will become the firm but gentle support for an extended tenor sax solo. The new motif, while quite simple, is in actual fact quite hypnotic. Weird! (17.5/20)  

B1. "Hymn To Mother Earth" (8:10) what begins as a kind of a turns into a rather plaintive ballad of hope Luckily, it turns back into a driving, though still simplistic, blues-rocker with some nice work from the rhythm section--especially drummer Steven John. At the halfway point another brass-led motif bridges us into a nice, hypnotic rhythm pattern for a sax solo. The music returns to the ecologically-motivated vocal motif around the six minute mark and thereafter continues flowing in and out of the dynamic and slow motifs--like a Jimi Hendrix Experience song style. Overall, this is a very interesting song--especially in its construction but also for the fact that Smokey Adams can manage a fairly successful, even-keeled vocal over the top. (13.25/15)

B2. "Mercy (Variation No. 1)" (9:20) Opening with an obnoxious riff of organ arpeggio played with a slightly more interesting rhythm track from the rest of the band which then gradually straightens out to provide support and guidance for trombone and saxophone solos over the next few minutes. The percussion play within this one makes it, in my opinion, the only song that treads across the ocean into some native African sounding musical territory. Nice work Aynde Folarin, Paddy Corea, Steven John, and Sleepy Jack! Organist Ray Rhoden tries to inject some Egypt into the mix with a stereotypic Black Land arpeggio in the final minute. An okay song that still could have been better--more dynamic and energetic as so many drum-and-percussion-oriented African traditional musics are. (17.5/20)

Total time: 39:46

I do not feel or hear any profound or obvious connection to African music other than the possibilitiy of the performers being likely African-American. I do, however, hear a very slight Jamaican/Reggae inflection in a lot of the songs. Overall, this is a very pleasant, almost innocuous album to listen to, but there is nothing here that I feel is very fresh or innovative.  

 86.62 on the Fishscales = B-/3.5 stars; a fair album from musicians that can obviously do better--especially compared to that lame opening song. Would that the Side One had been more like Side Two--and Side 2 been more adventurous.

ARCO IRIS O El Regresso a la aurora (1972)

My second exposure to the wonderfully creative music of this Argentine band.

Line-up / Musicians:
- Gustavo Santaolalla / acoustic, 12-string & electric guitars, charango, harmonica, percussion, voice, composer & libretto
- Ara Tokatlian / flute, alto, tenor & soprano saxes, keyboards, erke, erkencho, sicuri, quena, pincuyos, percussion, voice
- Guillermo Bordarampé / bass, double bass, percussion, voice
- Horacio Gianello / drums, percussion
With:
- Danais Wynnycka "Dana" / voice of Amancay
- José Ferrari / voice of The Maestro

CD 1 - "Acto primero" (47:23)
1. "Obertura" (12:52) Wow! What an intro: a mini-symphony for an overture! Jazz-rock, to be sure, but most of the time I'm feeling more of a Psychedelic Prog Rock vibe. I'm surprised right off the bat that I almost like the saxophone sound and style used by Ara Tokatlian. Though I'm not so enamored of the electric guitar sound effects selected by Gustavo Santaolalla, I am very much impressed and won over by his command of the acoustic guitars. (22.25/25)
2. "La canción de Nahuel" (5:53) interesting blues-rock dirge--especially if it's supposed to be our "hero"'s theme song! (8.75/10)
3. "Canto del pájaro dorado" (3:30) the first half is contemplative, almost desert-pastoral, but then it turns to South American themes for the second half. Well conceived, performed, and engineered. (8.875/10)
4. "Viaje astral" (2:25) gentle electric guitar arpeggi with sax, synths, organ, citarin, flutes and other incidentals meandering around the village square before piano, percussion, bass, and group vocals funnel us into a "Take Five"/bossa nova-like motif. Feels short and incomplete. (4.375/5)
5. "Tema del Maestro" (2:52) flute and Spanish guitar provide a gentle folk tune for the arduous travels of our hero. In the second minute the Teacher enters with wisdom and advice. Nahuel leaves with a little better clarity of his mission--and glimmers of how to accomplish/succeed. (4.5/5)
6. "Iluminación" (1:59) the melodic theme of the previous two songs is here carried forward and amplified by the band--especially by Ara's sonorous and nasal-sounding saxophone. (4.375/5)
7. "Hoy he visto al rey (Gira)" (3:29) finally we get to hear some of Gustavo's beautiful upper register voice on this Spanish-American folk song. Wonderful Simon & Garfunkel-like harmony arrangements with the background vocals. (8.875/10)
8. "Sígueme" (1:48) blues rock that sounds like both Blood, Sweat & Tears and Andrew Lloyd-Weber theatre music. (4.3333/5)
9. "El negro" (1:54) la musíca Sud Américan! Feels very colloquial. (4.25/5)
10. "Los campesinos y el viajero" (2:18) Caribbean rock that feels as if the band is trying to pull back to Anglo-European-style musical styles and sounds. (4.3333/5)
11. "El estudioso" (2:28) another cute little interlude. I feel like we're on a Canterbury Tales-like caravan pilgrimage--with lots of down time within which the tired travelers have to tell their stories. The second half is an energetic instrumental piece that could support a story of rollicking (mis) adventure grossly hyperbolized. (4.375/5)
12. "Oración de la partida" (2:53) Flute, synth flute, and slowly strummed Spanish guitar present yet another more-regionally-representative (and significant) piece of music. Too bad it had to stay in dirge-mode the entire three mintues. (4.25/5)
13. "Epílogo: Salvense ya" (3:02) opening with some very nice PENTANGLE-like guitar and singing, the music remains idiosyncratically South American--especially with the melodic and harmonic choices made for their delivery of their Spanish lyrics. Great composition with some awesome vocal performances--on a par with some of the stuff created by Serge Fiori or some of the other more-passionate male folk singers. Sadly, it's just not Jazz-Rock Fusion! (9/10)

CD 2 - "Acto segundo" (51:37)
14. "Recuerdo di mi ser" (3:43) another delivery mechanism for some gorgeous, almost-monastic-like vocal music, here using spacious guitar and bass with echoed flute to back Gustavo and the others. (9.125/10)
15. "Los siete peregrinos" (2:34) this sounds like something the USA's THE ASSOCIATION could/would've done at the end of their production career. It's pretty. Too bad it never reaches the heights of an Association song. (8.75/10)
16. "Tema de Amancay" (2:09) flutes and picked acoustic guitar support the near-operatic vocalese of Danais Wynnycka--here playing Nahuel's muse, Amancay. (4.625/5)

17. "Busco a Dios en Mí y en el Sol (Hombre)" (17:10) John Coltrane-sounding sax opens this one while bass, organ, chorused electric guitar, and percussives jockey around for position behind Ara. Then, surprise, surprise, at the one-minute mark the band unleashes a campy Rockabilly theme over which Gustavo sings with some power. Okay, we finally get some music that sounds like (early) Jazz-Rock. (I'm not quite ready to offer the "fusion" mantle.) The blues Hammond organ, however, takes over in the seventh minute, relenting only at 7:20 for the fuzzy electric guitar but thankfully providing us some much needed relief from an overly-long three-chord vamp (but not really as the three-chord structure returns to anchor the fuzz guitar solo). At 9:05 everybody cuts out to make way for an all-hands-on-deck percussion jam. The talking drums are the most interesting, of course, but the animated vocalizations and many playful percussive ejaculations are pretty entertaining, as well. This section goes on until 13:45 when the guitar and organ begin to reassert themselves and drive the percussives back to their place in the rhythm section. Thereafter the music settles into a blues-rock motif that borders on pure blues due to the bluesy lead guitar solo, but then at 15:30 the jumps onto a downhill autoroute for a bit before coming back to Earth with a rockin' blues-jazz vamp. A little too messy and rudimentary for superlatives. (30.5/35)
18. "Deserción del viajero" (0:49) sounds like a Los Jaivas call-to-prayer.
19. "La duda de los campesinos" (2:11) the continuation of the previous song. Sounds like a Serge Fiori vehicle for strong vocal delivery of his foreign language message. (8.75/10)
20. "El aliento de Dios" (3:17) another cool Prog Folk song that very easily compares to the 1970s output of Harmonium or some of the softer RPI bands like Maxophone or Celeste. (9/10)
21. "El viajero delata a los peregrinos" (2:17) the one-minute intro for this one sounds so much like something from an early URIAH HEEP, DEEP PURPLE, or PROCOL HARUM song. Then it turns more acoustic exploration like an early Jazz-Rock experimentalist like Terje Rypdal or Larry Coryell. (4.5/5)
22. "Persecución de los peregrinos" (6:51) what starts out with a proclamatory royal horn blast turns into another interesting, texturized, ambient jazz-rock exploration of space and acoustics. Around 1:15 the YARDBIRDS/LED ZEPPELIN blues-rock bass, drum, and guitar riffing begins, laying down a three chord pattern that provides the low end support for saxophone and, later, two channels of concurrent electric guitar soloing. Must've been fun for Gustavo. At the four-minute mark the music is smoothed out by some organ while Gustavo and one (or both) of the other men take turns with the lead vocal. A weird little theatric "bridge" at 5:43 interrupts the otherwise-five-minute flow of the two-chord Yard-Zep motif. The song is most interesting for its theatric vocal contributions to Nahuel's story. (8.75/10)  
23. "Viaje por las galerías subterraneas" (2:44) charango, bowed double bass, and soprano saxophone tell this unusual little colloquial story. (4.375/5)
24. "Salida al inmenso lago - Iluminación" (1:31) a female vocalese-with-guitar bridge that takes us from the charango theme to a rather melodramatic theme that kind of tells me that we're nearing the end of our story. (4.875/5) 
25. "Reencuentro con Amancay - Oremos" (2:13) opening with an odd little "singing in the bathroom stall" routine from Gustavo, it then turns into a Spanish guitar supported vocal ballad delivery. Nice construct with wonderful voice and flute arrangements. (4.875/5)
26. "Las colinas y el Maestro" (0:46) the flute and guitar duet conclusion of the previous song. 

27. "Epílogo: Sudamérica" (3:29) again, the feel of this spirited song and full orchestrated rock arrangement makes me feel as if I'm in the audience at the performance of a stage musical. I would stand and clap for this one. (8.875/10)

Total Time 99:00

I know 1972 was still fairly early in the development of Jazz-Rock Fusion as its own entity, but I find myself feeling almost 100% that embracing this epic concept album under the J-R Fuse umbrella is a mistake. This feels to me much more akin to the outputs of Psych, Canterbury, and Symphonic prog rockers than to those of any or all of the artists experimenting with or even dabbling with the new Jazz-Rock Fusion combinations and permutations. The fact of so much straight-time blues-rock-based rhythm structure is one of the key points in defense of my declaration. As a matter of fact, I'd call this album's music much closer to Québec band Harmonium's last studio album, Heptade, than anything I've ever heard from the true closet of Jazz-Rock Fusion albums. Though I am not a fan of the saxophone, Ara Tokatlian's Elio D'Anna (OSANNA, NOVA)-like sound and style is one that I often find enjoyable.

 86.54 on the Fishscales = B-/3.5 stars; though I am very impressed with the band's creativity and vocal and acoustic instrument talents--and I enjoy very much the experience of listening to this music--it does not stand up at all well as a Jazz-Rock Fusion album. It does qualify, in my estimation, as either a nice  rock opera representative of either the Prog Folk or Blues-Rock domains. I will not deny the significance this album, band, and music might have to Argentinians and/or Sud Américanos, but in terms how it fits into and/or contributes to the Progressive Rock or Jazz-Rock Fusion lexicons, I'd call this more akin to Proto-Prog like It's A Beautiful Day, The Collectors, Jefferson Airplane, Led Zeppelin, or Spirit. Still, I'm going to bump this up to a four star rating due to the overall entertainment value. The vocals and ingenious song designs alone may be worth it. 

JAN GARBAREK, BOBO STENSON, TERJE RYPDAL, ARILD ANDERSEN, JON CHRISTENSEN Sart (1971)

The album was recorded on April 14–15, 1971, at Arne Bendiksen Studio in Oslo, Norway, and then released by ECM Records in November of 1971.

 
Line-up / Musicians:
- Terje Rypdal / guitar
- Bobo Stenson / piano, electric piano
- Jan Garbarek / tenor & bass saxophones, flute
- Arild Andersen / double bass
- Jon Christensen / percussion

1. "Sart" (14:54) acoustic space with the occasional instrumental note, riff, or flourish to come close to that which normal mortals would consider "music," this display feels more like a hiker's search for water while crossing the Sonoran Desert. I am not one of those listeners who find beauty, meaning, much less redemption in this kind of pretentious music. Even in the 12th minute when the musicians finally start to "come together" it only sounds like grating and scratching. (24/30)

2. "Fountain of Tears - Part I and II" (6:02) more creative noise-making from each of the musicians on their respective instruments (or not: they could have just done a Talking Heads switcheroo where each takes one of the others' instruments to see what sounds/music they can make on them). Wow is this bad! I mean it does take a little talent to make this cacophony together with others but, really: why? Even the gentle pastoral flute, electric piano musings, and bowed bass weave in the final 90 seconds fails to merge into what I would call "music." (7.5/10)

3. "Song of Space" (9:38) A continuation of the previous song with Bobo Stenson taking on the flute's role with his piano? Why must music go in this amelodic, astructured, anarchistic direction? Is it a reflection of nihilism, deconstruction, and/or randomization or just a need to feel power through rebelliousness? It just feels violent to me. (17.25/20)

4. "Close Enough for Jazz" (1:57) Arild Anderson's lone compositional contribution to the album actual uses a near-normal weave of near-normal sax and bowed-bass to express its ideas! Praise the Buddha! (4.375/5)

5. "Irr" (7:14) fancy double bass playing opens this one, Arild playing tout seul before Jon Christensen joins him with a kick drum and brushed snare approach to rhythm-making. Composer Jan Garbarek enters around the two minute mark with his own free-jazz stream of tenor sax playing. Jon settles into more full use of his drum kit as Arild and Jan continue flowing freely around him as if each in their own universes (though using a common tempo). At 4:15 Bobo joins in, taking a chromatic melody line that feels quite similar those used by his predecessors (Jan has now ceased to play). We are blessed that he even deigns to use some West-familiar chords in his piano poundings. I know it takes talent and skill to play this stuff but I don't enjoy the discomfort and irritation it puts me through. (13.125/15)

6. "Lontano" (2:10) Terje's lone composition is but another exploration of the unguitar-like sounds that a guitar can make. Is this really music? (3.75/5)

Total Time: 41:55

These Norwegian experimental Jazz musicians are already obsessed with the dominant place of space and the acoustics of such within their musical landscapes, stark as they are. Seeing that four of the six compositions (adding up to 90% of the album's duration) are Jan Garbarek compositions I can see why. I just don't enjoy chromatic structure (or is it more accurate to call it "lack of structure"?) Mathematical juxtapositions of music theory are fine in the head or practice room but to inflict it upon an unprepared, uneducated public is bordering on criminal--almost terroristic!  

82.35 on the Fishscales = D-/1.5 stars; acerbic "music" that makes me want to run to Mother Nature or even AM radio for comfort and rehabilitation.