ELEGIE (AS JAZZ Q MARTIN KRATOCHVIL)

Pianist Martin Kratochvil enters his thirties by leading his Czechoslovakian group of jazz/fusion artists, Jazz Q, through their fourth studio album since their debut in 1973.

A1. "Slunovrat" (5:35) more like a slightly-funked up FOCUS song: some skillful expression of a challenging composition rendered quite well. (9/10)

A2. "Naděje" (7:00) opens sounding quite a little like one of JEAN-LUC PONTY's hypnotic weaves within which violinist Jan Hrubý does a fine job representing the new Jazz-Rock Fusion sounds and stylings of the electric violin. After almost two minutes with Jan's violin supplying the studied lead, Michal Gera's heavily-treated trumpet (sounding a lot like a wah-wah pedaled electric guitar) takes the lead. The third round of this 90-100 second repetition/rondo of a movement is given to Martin Kratochvíl to solo over using his own unique Moog sound choice. The fourth and final "round" allows electric piano and loosely-organized other members (wordless voice, guitar, trumpet, and violin) to let the song end-- very loose and unceremoniously, I might add. I must say that each of the soloists presents themselves in very unique sound choices and that they express themselves in ways that are flashier for their use of the strange effects and sounds than for their technical speed or skill. Too bad there isn't a little more oomph or zip to the main motif. (13.375/15)

A3. "Citadela" (3:20) strings synth and pounding left-hand piano chord play supports a solo from electric bassist Přemysl Faukner. Odd but "cute" song. (8.75/10)

A4. "Tanec" (3:45) Side One's fourth song bursts forth as if coming straight off of a HERBIE HANCOCK album from 1973 or 4. Great Cobham-like drum play, great Larry Coryell-like electric guitar soloing, great Latin percussion, great bass and Fender Rhodes support and leads. A very solid, very American-sounding funky Jazz-Rock Fusion tune. (9/10)

B1. "Létavice" (5:20) the basic quartet sans drums taking turns soloing over a two chord vamp that, at times, descends one key per measure with the bass pretty much holding center of one particular key. It's okay; interesting. (8.75/10)

B2. "Toledo" (7:35) built over a Spanish rhythm motif nuanced bass and drums and rhythm guitar hold down the rhythm track while Martin and Frantisek take turns soloing in Spanish melodies that are quite similar to those used by America's great Latin-protagonist, Chick Corea--even using the same synth and keyboard sounds Chick would use. The performances of the soloists are more impressive than is the muisc they've contracted to play over (it's a bit stereotypic and one-dimensional). (13.25/15)

B3. "Zravá Dáma" (5:20) a very playful exploration of deep Herbie Hancock-like funk conveyed through the white man's filters of order and easy-on-the-brain melodies. Radical change in the second minute as the song goes into a full percussion-only motif, but then it comes back to the funky with a little more distroted guitar for the final minute or so. Weird construct with some enjoable white man's exploration of American funk. (8.75/10)

B4. "Věstba" (1:55) piano, strings and acoustic guitar doing a modern avant-garde piece. (Pre-RATIONAL DIET.) (4.375/5)

Total Time 39:50

Havung come here straight after listening to Extra Ball's Birthday debut I can't help but be underwhelmed by both the lower level of instrumental mastery of the musicians in Jazz Q but also at the immaturity of their acquisition of mastery of the skills and technologies with which to emulate much less surpass American Jazz-Rock Fusion of the day. This is what I would definitely call a "second tier" album (and band) representing the Jazz-Rock Fusion ilk.

B/four stars; an excellent Eastern European response and contribution to the Jazz-Rock Fusion revolution going on in America.

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