VENUSIAN SUMMER

Another long forgotten jazz-rock gem from the heady Golden Years of rock music, Lenny White needs no introduction, having made his name with the still resounding and active Return to Forever. This his first solo album from 1975 has a lot going for it which is why it remains so highly rated , though not an easy or obvious find. The artwork is certainly typical of the era in question, an evocative horned nubile woman spread out on a Venusian landscape. As befits the jazz fusion genre, the guest list is quite impressive with such luminaries as guitarists Al DiMeola, Ray Gomez and Larry Coryell, keyboardists Dave Sancious, Jimmy Smith, Larry Young and Peter Robinson, former Santana bassist Doug Rauch and flugelhorn player Tom Harrell.

There is a strong American urban feel throughout the tracks, I daresay hyper funky in many ways, with loads of electric piano courtesy of Onaje Allan Gumbs. There are also blended into the mix a few ambient synthesizer interludes, as this was Patrick Gleeson's claim to fame both with Herbie Hancock (the "Sextant" album in particular) which contributes to the proggy feel. The first 2 tracks serve as warm up and do not really reflect the remaining 4 brilliant tracks, as both the oily "Chicken Fried Steak" and the rather flippant "Away Go Troubles (Down the Drain)" are nothing more than competent and amusing appetizers.

The glorious and epic title track is a fine case in point, served with a long spectral synth envelope to cast one out into deep space, voyaging into the cosmos with conviction and the will to discover ("Sirenes"). As soon as the initial electronic boosters are finally jettisoned, the icy cool jazz-funk groove kicks in with Lenny leading the rhythmic charge, flugelhorn in tow, blooming into a convoy of synthesized vehemence, in fact a devilish duel between Gleeson and Robinson that is jaw-dropping in intensity. The mood is catchy, eventful and bright, truly sophisticated music.

The hyper-active tornado is apparent on the dizzying "Mating Drive" , a super-funky and ambitious that has a sensational Ray Gomez extended guitar solo that is lightning precise and deadly , a furious Larry Young organ flurry, bubbly turbo-charged bass from Mr. Rauch and Lenny bashing away unmolested. Smoking chewy cigars, it's a boy!

Always saving the longest and the best for last, the tectonic "Prince of the Sea" starts off smoothly enough, a horizon of sweet synthesized fluffs, twinkling e-piano and languorous flugelhorn to set the stage for 2 of the greatest electric guitarists anywhere, as both DiMeola and Coryell trade licks as only they can, with convincing desperation and exalted confidence. Flicks of many wrists are on display, from all contributors, but electric guitar fans are in for quite a lesson in wizardry, emotion, speed and delivery.

Don't let the 2 intro pieces fool one into denying this recording's place in one's collection, as the three longest tracks here are world class compositions that will please many if not all progressive music fans. I am glad it still sits well in my collection.

4 July lovers