UPON THE WINGS OF MUSIC

While still in the Mahavishnu Orchestra MK II, Jean Luc concocted his first fully electric solo outing. While not as fully realized as subsequent albums, this at least strongly pointed the way he would be heading shortly.

The opening title track with its insistent drumming by Ndugu Leon Chancellor roars out of the gate with Ponty soaring over the top of the maelstrom with a beautifully constructed melody here! "Question With No Answer" features a beautiful plaintive piano intro from Patrice Rushen just before Jean Luc enters with the song's probing, insistent melody, gradually building momentum as the full band enters to a rousing conclusion. "Now I Know" is a moody ballad with dreamy Herbie Hancock-esque Rhodes from Patrice as Jean-Luc spins out haunting melodies. Things pick up again with "Polyfolk Dance" featuring some cool odd-meter passages. One thing the album as a whole is lacking in is strong guitar work (the contributions of Dan Sawyer and Ray Parker Jr. are at best serviceable and generic), the solo on here is a bit cliched and irritating with its angry mosquito tone.

Also featured is a solo violin piece "Echoes Of The Future" with Ponty employing an Echoplex for layering figures on top of one another, something that would become one of his trademarks.

The rest of the tracks are decent enough fusion, but in subsequent albums, Ponty's compositional prowess would grow like mad.

A good solid start, all told.

This is a VERY good fusion album. The keyboards used belong to the standard old technology: there are tons of piano and Fender Rhodes a la George Duke, among others: it is hard to believe that all the excellent keyboards are played by Jean-Luc Ponty himself! The good bass and drums are very elaborated and restless. The omnipresent electric violin here has lots of effects in its sound, as usual. Some parts are slightly experimental but it is not bad at all. It is not always fast with the instruments loaded to the maximum: the violin sound is sometimes floating like if Ponty was retaining his note, wanting to show more the effects added to the sound. There are electric guitar arrangements, rather discreet in order to leave the room to the electric violin, that accompany the rest of the music. I think this record is less accessible and more loaded & elaborated than his following ones.

3.5 stars really!!!

After Ponty has left the Mahavishnu Orchestra (or after the group broke-up, whichever), Ponty started his own solos career (although he had a few albums recorded during the 60's, most progheads - I included - became aware of his high-profile albums with this album. Obviously, this album's success was encouraging enough Ponty to try to emulate this album's feel (or formula if you wish) on the next albums to come and it will benefit him, even if he will never sell enormously (even on a jazz scale) either.

What we have here is a JR/F so typical of the second half of the 70's, which could've easily been released on the ECM label, with all the aspects concerned including that soft jazz feel of those years coming close to elevator music. Do not get me wrong, I am not downing JLP's music far from it, as there are some superb moments (notably Now I Know), but there is no groundbreaking scheme, no incredibly soul-liberating moments, just pleasant music with a lot of good moments, but never Nirvana is approached All of his musicians are absolute professionals with excellent mastery of their respective instruments, but maybe this is exactly why those Ponty albums (and so many other JR/F albums of the second half of the 70's) fail to arouse my utmost admiration: they are PROFESSIONAL, business as usual, just another day's meal ticket, well I think you get the picture by now. This should not let you get the idea that I do not like UTWOM, there are some delightful moments (the middle section of waving memories for one), but none crossing the boundary to musical paradise.

As a matter of fact, I would almost recommend this album as a starting point if it was not for the (excellent) Live album, which unsurprisingly will offer you an outstanding selection of their more exciting moments. The downside of this approach is that it can only be downhill from there. But for those already a bit familiar with jean-Luc's works, this album is one of his better ones. Still not essential, though except in capturing Ponty's works.

A new, entirely American lineup supporting Jean-Luc for this, the first of his long association with Atlantic Records. Consequently, the sound of these songs is the first in the true entry to Third Wave Jazz-Rock Fusion. (Remember: in 1975 anything was possible!)

1. "Upon The Wings Of Music" (5:26) now here's the patented J-L Ponty sound! Thanks to bassist extraordinaire Ralphe Armstrong, the amazingly versatile (and grossly under-appreciated) keyboard player, Patrice Rushen, Jean-Luc's sound is richer, funkier, and way more modern than the electrified attempts he made on previous albums. But, hey! It's all about evolution--the willingness to try new things, adapt, and change, right? Great slap-funk bass from Ralphe with solid drumming from Ndugu. (9/10)

2. "Question With No Answer" (3:29) piano with multiple tracks of violin (a trick Jean-Luc would persist in trying and perfecting by the time Cosmic Messenger and Individual Choice roll around). Some of the violins are more effected than the others, some sounding almost acoustic. Patrice Rushen's bluesy piano provides the absolute perfect support for Jean-Luc's display of multiple personalities, but the addition of the electric bass and drums (mixed far too forward and loudly) is a mistake as their melody-making and rhythmic add-ons only distracts--especially in their total redundancy. (8.75/10)

3. "Now I Know" (4:27) slow and bluesy with a near-C&W ballad-like feel to it, the treated electric violin is very much in line with the sound that will dominate Jean-Luc's albums and music for the next decade. Nice laid back work from the rhythm section, even when Patrice steps up for an electric piano solo in the third minute. But the highlight is Jean- Luc's Violectra and synthesizer use--a first (as far as I know). Cool stuff! (8.875/10)

4. "Polyfolk Dance" (5:12) yes, it's based on folk melodies, but the sound and pacing is all RETURN TO FOREVER-- especially due to the presence and very up-front and center contributions of guitarist Ray Parker, Jr. I also love Patrice Rushen's fluid, free, and floating electric piano play between everything that the leads and rhythm section are doing. At 1:45 there is a surprise shift not only to a different road and speed but to a completely different vehicle! The opening was like riding in a van whereas now we've switched to a sports car. Several more tempo and motif switches occur fairly quickly, all the while Ralphe and Ndugu remain locked in while Patrice remains totally lax and fluid. Really cool teamwork! While nothing that Ray (or the other guitarist, Dan Sawyer) does is mind-blowing or innovative, he does a wonderful job of keeping up with and, often, matching melody lines with Jean-Luc. (9.25/10)

5. "Waving Memories" (5:43) solid Third Wave Jazz-Rock Fusion with some elements and motifs entering the realms of Jazz-Funk and Smooth Jazz. The main detriment to this song, despite its stellar performances, is the lack of defining melodies and sometimes disparate sound stylings that don't always mesh together so perfectly. (8.875/10)

6. "Echoes Of The Future" (3:09) heavily-treated/delayed & echoed synth violin partnered with heavily-treated muted guitar and deep synthesized violin washes. Though there might be guitar and keyboard synthesizer present, I suspect (knowing Jean-Luc's "I can do everything" penchant) that it's all multi-track stuff coming from his violins. It is, without question, however, pretty cool; a precursor to Cosmic Messenger's amazing opening title song. (9/10)

7. "Bowing Bowing" (4:53) nice four-chord vamp sound palette over which Jean-Luc and Patrice take turns soloing with their weirdest synthetic sounds. Even Dave Sawyer gets some time near the front as he mirrors and provides harmonic accompaniment to Jean-Luc's melody making with his electric guitar. Glad Jean-Luc finally gave the dude some exposure. Nice tune. (8.875/10)

8. "Fight For Life" (4:34) opens like some kind of wah-wah-ed ZZ TOP or LED ZEPPELIN song with a three-chord vamp set in place from the first note to support Jean-Luc and Ray Parker, Jr.'s solos. Unfortunately, Ray's solo in the third minute is way too distorted and flanged down. Then around 2:40 there is a very weird sudden gradual speed up--as if the 1950 Ford Fairlane's pedal is put to the metal. Once top speed has been achieved Jean-Luc really flies--like a hungry swallow--while the rhtyhm section holds super tight beneath. A weird song that has some truly awesome parts and some parts that leave me scratching my head. (8.875/10)

Total Time 36:38

B+/4.5 stars; an excellent near-masterpiece of prime Jean-Luc Ponty music--the first to achieve that signatory sound that he would master for the next 20 years. There are, however, still kinks to work out--which makes sense since Jean- Luc has an entirely new entourage of collaborators and a brand new record company. But, the gate is open for his incredible run of 15 years of masterful albums.