HIDEAWAY

Virtuoso Bassist Stanley Clarke has been around for a long time, and he's one of the most admired and skilled musicians (of the Bass world) I've heard (along with Jeff Berlin, Les Claypool, Chris Squire, Geddy Lee, Percy Jones, Jannik Top.......) but unfortunately I'm not the biggest 'Fusion' fan - Jazz-Rock yes, Fusion, not so much. 'Hideaway' sees Clarke well into the 80's - neatly cropped mop and a Country-Road jumper with the sleeves scrunched up to his elbows, the music is as neatly manicured as he is. The overall sound of the album is one that's so polished it almost sounds inhuman - don't get me wrong, the playing is superb, his supporting cast of musicians is great, ranging from the likes of drummers Rayford Griffin and Stewart Copeland, to members of his old 'Schooldays' project. Most of the keyboards are played by Alan Pasqua and can sound quite lush. The songs range from easy listening instrumentals, of which a cover version of Stevie Wonder's 'Overjoyed' is quite superb, very mellow, yet I'd swear that the strings of Stanley's bass were molten by the time he finished his blistering solo part. In fact, most of the non-vocal tunes are smooth and laid-back 'fuzak' which are perfectly executed, but those which contain vocals (courtesy of soul oriented singers Angela Bofill, Bernard Jackson and Larry Graham) I find too commercial and 'pedestrian' for my liking. This one goes down as an 80's Jazz-Pop album with some pleasing-to-the-ear instrumentals. 3 stars.

I will be able to feel wide and room for the technology of him and the performance method if it thinks about the work of Stanley Clarke in the 80's. The style of man who had already established an original performance showed room in the work in the 80's. The flow that gradually established the road to the contemporary music from "Time Exposure" that had been announced in 1984 was appearance of the music at which he had to aim as Solo. The establishment of the music character at which Stanley Clarke aimed is established enough in this album produced from "Find Out" announced in 1985 after the period on four months of about one year.

Music that caught the age will have been music with the quality that derived enough from the base of Jazz/Fusion. The technology and the idea that he cultivated are splendidly reflected in his work in the 80's. And, having decided the overall impression of this album might be very large the part of the realization by the idea and the guest that Stanley Clarke is variegated. The appointment of the musician who has various exchanges for Stanley Clarke shows various respects by the tune. And, the sense of Stanley Clarke of arranging the musician by the tune and the idea of the tune might be the points well along in the age. It might be a calculated flow that never puts out only the technology forward as a part of his room.

Element that receives flow from Clarke/Duke project. And, the success of DUO with Larry Graham that enchants the spectator in "Live Under The Sky" done in Japan in 1985 etc. surely expanded the width of the music character of Stanley Clarke and are doing. And, those element and idea are splendidly expressed by this album. Part of tune and Fusion that arranges song as the entire impression of album. And, abundant ideas of this album that the element of AOR also took have succeeded to some degree as the work.

"Hideaway" are the performances of all by Stanley Clarke excluding the rhythm of Gerry Brown. The line of gentle Bass might be Fusion with the element of AOR and mellow. As for the line of Bass, some Overdub is given. Moreover, the melody to which Bass gets on is established advances with a gentle sound.

As for "Overjoyed", the theme of Bass twines round a variegated sound of the guitar of Stanley Jordan. The negotiation on the guitar and Bass advances alternately with fast and slow. And, the keyboard of Alan Pasqua that raises the quality of the tune never obstructs the tune. Overwhelming solo of the guitar is twined around solo of Bass that understands the tune. The melody of Bass that takes an original sense is impressive.

"My Love,Her Inspiration" is Fusion with the element of AOR where the melody of Sax of George Howard shines. Stanley Clarke is performed by making good use of tenor Bass in this tune. It is in the rhythm section of Alphonso Johnson and Rayford Griffin that supports Stanley Clarke that freely performs a gentle melody. The obbligati of the keyboard that Alan Pasqua is of course good also contributes to the tune.

"Where Do We Go" has appointed the song of Angela Bofill. It might be a tune with gloss with the element of mellow. The perfection of the tune is raised in union the band. Gary Herbig takes charge of Sax. The transposition of Chord with the feature affects well, too. The line of Bass that doesn't obstruct the song might always be appearance of room and the idea.

Old friend's Herbie Hancock participates in "The Boys Of Johnson Street". Especially, the idea and the methodology of Herbie in the 80's might come out from the tune strongly because Herbie Hancock participates. The flow of the keyboard with the anacatesthesia catches the age well. And, it might be a point to have to make a special mention of the existence of Stewart Copeland that participates in this tune. The performance of Stewart Copeland does the performance with an indeed electronic element. And, the performance of Bass to make good use of Slap merges splendidly in the tune. Stewart Copeland and Stanley Clarke shift to the flow by "Animal Logic" after this.

Old friend's David Sancious participates in "Old Friend". It is Fusion round which the sound of a good keyboard for the line of Bass to make good use of cutting twines. The guitar of Dan Huff also contributes to the tune. And, a good idea of David Sancious that appears everywhere enchants the listener. It fights by an of course solo of Bass overwhelming technology. The idea of the tune to which this tune was surely done in the 70's might be followed.

Stanley Clarke plays all musical instruments to "When It's Could Outside" alone. It advances by arranging an electronic melody in the sound of the glittering keyboard. The line of Bass makes a variegated sound. It is ..Fusion by which this tune also caught the age.. finished. The sound of Bass is given Overdub and gives width to the impression of Solo and the theme. The rhythm used might also exactly have an electronic sound in the 80's.

"Listen To The Beat Of Your Heart" has appointed the song of Bernard Jackson. The music that a top musician always creates for the item of Jazz/Fusion gives a superlative degree performance and the idea to the element of the song. The technology will have the part that cannot be processed with machine parts. The tune is contemporary music that catches the age. An electronic sound of Alan Pasqua and the guitar of Paul Jackson Jr also contribute.

"Basketball" will be reminiscent of the tune of Herbie Hancock in the 80's. The melody of Sax of George Howard shines. The tune is Fusion that has an electronic element and is advanced. The performance of a part overwhelming the technology of Bass and good comes out. The transposition of complex Chord is placed and the performance continues the dash feeling.

"I'm Here To Stay" might be a tune for Bass and the song of Larry Graham. It is a gentle tune to which the element of AOR is taken. A good keyboard for a steady rhythm twines with the chorus. The impression of the album might be consistent.

The width of the music that Stanley Clarke expanded in the 80's might be indeed variegated. And, room and the idea are splendidly expressed by this album. And, a variegated guest also is contributing splendidly.

An R&B music with a bit of jazzy flavor ...

Well ... the reason I write this album is because I have the cassette version of it with a very good quality as this was produced decades ago...but the audio quality is really good and in fact I prefer to play this casssette at my Tandberg TCD 440A than playing any CD with my NAD player. The sound of this cassette is really natural where I can get a full blast of balanced combination among treble , bass and midrange nicely. I do enjoy this cassette record, really, eventhough I played it "zero gain" or flat at my amplifier where the bass and treble were set to 0 level. It's a great experience, really.

My excitement on the audio quality is not really matched at all with my satisfaction against the music presented by Stanley Clarke with this album. In fact, I listened to it with many regret as I don't believe that a musician with such a brilliant capacity and talent like Stanley Clarke created this very mediocre quality of music - not even good ...sorry to say. Well ... if you look at the perspective of pop or R&B music this album might have served good for you. But even under pop or R&B scene there are still many groups that are more ear candy that pleases you such as Incognito or Jamiroquai ... I think. You might then question me why do I mention these two names? It's because this Hideaway album is not that faraway from those kind of music only that this one less funky, overall.

Well ... I can find the album title track is quite good as it presents Clarke's bass guitar solo as melody as well so that it provides some sort of enjoyment. But the problem is that everything was composed using R&B scene, so there is no challenge at all in listening this album. In fact the track where Angela Bovil fill up the vocal work, it's totally a pop music and I wonder why this kind of music is featured here at this website. It's much better to include Chick Corea where the music is much jazz and much complex to what the R&B music offers. I a not saying R&B is not good but it's not suitable for this prog website - I believe. Chick Corea album like "The Mad Hatter" is much more suitable here ....there are lots of prog components eventhough it's 85% jazz.

So to say ... I can only give this album with only two stars as the facts tell me that. You should try it and you might agree with me ....

Peace on earth and mercy mild - GW