WIZARD

The Wisconsin-based band's sophomore release: John Harmon's ascendance into the leadership role has progressed though Fred Sturm is still present. Also, fretless bassist Randy Tico has joined the crew while tow of the original horn players have left.

1. "King Weasel Stomp" (6:22) a very funky fast-moving romp through some cinematic/game show theme music. Nice synth solo (from Larry Darling?) in the second minute as Randy Tico and the band support with changing thickness and tempos from behind. John Harmon gets the next solo on his electric piano with sparse accompaniment from Randy and drummer Mike Murphy until gentle horns join in from the background. Nicely done. Then Larry (or more likely, Jeff Peitrangelo) bursts into the fray with some boisterous trumpet play, upping the energy for all--a trend that carries forward to the song's finish. (9/10)

2. "Spring (Inspired By The Season For Ivan)" (8:25) pre-1980s Pat Metheny Group with some really strange dynamic arrangements! A very cool, mature composition of perfectly arranged group dynamics. A mighty nice representation of Spring--not unlike the music of Jay Beckenstein's SPYRO GYRA. (18/20)

3. "Mountolive (Inspired By The Literary Creation Of Lawrence Durell)" (5:14) opens like a dirge for a New Orleans funeral before turning cinematic and DON ELLIS ORCHESTRA fullness and light--and Randy Tico's funk. There's also some more je ne sais quoi-ness to this: like a BURT BACHARACH-itude or Brian ENOssification or BILL CONTI-ness. The massive drum solo paired with the New Orleans dirge doesn't really work for me but the rest is amazing (9.5/10)

4. "Come September (A Father's Farewell To His Five-year-old Son)" (2:54) lullaby electric piano is joined by solo bass trombone for this emotive, surprisingly dark opening. This one definitely develops cinematically though also very much like a collaboration between Weather Report and MAGMA, kind of like Blade Runner's "Blade Runner Blues" except done for trombone instead of flugelhorn. Weird to think this existed before and separate from Vangelis' composition of said soundtrack--which was composed with synthesizers but first published on vinyl by the New American Orchestra using Chuck Findlay's flugelhorn in the lead position. (9/10)

5. "Wizard (Musical Impressions Of J.R.R. Tolkein's Unforgettable Mage, Gandalf From "The Lord Of The Rings")" (10:55) moving straight from the intro of the previous song into this one with no delineation the music takes on many more standard jazz idiosyncracies--even Big Band era stuff--while also using the modern conventions championed by the likes of Chick Corea and Eumir Deodato. Lots of odd and unusual synth sounds--including on the percussion side of things--while the big band rhythm section and choral vocals join in. The drumming and interplay of the fretless bass and electric keyboards are, to my ear, essential anchors for the success of this piece. Everything is so well-conceived and precisely delivered! Plus, there is a "big cinema" classical music film score feel to many of the most dynamic parts- -not unlike that which Chick Corea pulls off for his magnificent The Mad Hatter "opera." (19/20)

6. "Smile At The Foot Of The Ladder (A Musical Portrait Of Henry Miller's Clown/Saint August)" (5:02) gentle performed seamlessly over militaristic snare drumming for the first couple minutes before every thing goes Paul Desmond melodic/smooth jazz with Fender Rhodes, flutes, and choir vocal "Oooo"'s. Again, nice bass and subtle drumming play. I love when the horn section joins in over the Take Five"-like rhythm pattern and electric piano soloing. Return to the military snare drumming with muted horns to close out this wonderful song. (9.25/10)

7. "Brown Boy (A Bermudian Street Scene)" (7:21) a nice piece of sophisticated smooth jazz that Bob James and Joe Zawinul (and even Glenn Miller, Artie Shaw, and Benny Goodman) would have been quite impressed with. Great Jaco- like smooth fretless play in the seventh minute which is followed by quite a jovial, celebratory finish. (13.5/15)

Total Time 46:13

Newcomer Randy Tico's Jaco Pastorius-like fretless bass gives the band a further "in" with the trends int Jazz-Rock fusion as does some of the new synth sounds (like clavinet) and increase of Latin percussionism. Despite an overall movement toward funk and Jazz-Rock Fusion, there are still many signs that this is still an institutional "big band" orchestra. I love the citations of literary references and/or inspirations for each of the songs--and I LOVE the tight, professional sound of what sounds like a very disciplined, well-conditioned orchestra.

A-/five stars; an excellent addition of incredibly well-polished and sophisticated Jazz-Rock Fusion to any prog lover's J-R F collection.