LOCKWOOD, BECK, HOLDSWORTH, ROMANO & JENNY-CLARKE: THE UNIQUE CONCERT

Certainly 'unique' is an apt description for such a performance, and, to me (at least I thought), it's unique just for existing at all! The great Didier Lockwood, the apparent leader on this date, was few-times violinist for the originators and original purveyors of Zeuhl itself, Magma; best I can say, around this time (at least during the early-80s). Lockwood's bio here suggests his featuring in Pierre Moerlen's Gong also, which I wasn't aware of before, finding his only appearance was on Downwind (1979). Interestingly, he just missed the other most notable name present here during his brief stint "in" Gong, guitar-wizard Allan Holdsworth being a band member of this latter-days group from 1976-78--and then appearing an album afterward, Time Is The Key, also 1979. Moreso a straight Jazz recording, The Unique Concert band also features Gordon Beck on piano, Jean-Francois Jenny-Clark on an upright contrabass and Aldo Romano on drums. In all of my ignorance, apparently Lockwood and Holdsworth performed together for some time (or across a span of years). I found a version of the second track, "Zebulon Dance", from '84, and, unsure of its date, the masterful duo recorded "Crazy Eight" live with Jack Bruce(!!!), David Sancious(!!!) and Billy Cobham(!!!)! Like, can you imagine this?!... Anyhow, here's this review haha. This band is also hot, don't get me wrong. For fans of Hard-Bop, Post-Bop and all of the improvisation which often accompanies these, check it.

This release begins with the longest track, the side-length epic "Flight", at first sparse and warmly performed. The piece opens up the stage to a spearheaded violin solo over what I would assume is a Samba rhythm. Truly a forward-driving section! Blazing is the young Allan Holdsworth's solo to follow, not letting up for the majority; he's one of the best. Holdsworth associate Gordon Beck holds the fort down on acoustic piano, tying the rhythm section together and tethering the soloists to the stratosphere before his own solo on the 88s. Nearly 6 minutes in and the fact that the post-boppin' isn't prepared to let up, and is still working it for all its money, is really something to marvel; I suppose what you'd want most out of a number like this. Allan returns with more fire, as a duet between him and Didier begins. Wickedly fast, both of them, I can imagine just how fun this was to play, just volleying back and forth with vigor and determination. We fall away to the softness of the beginning for a delectable bass solo by Jean-Francois Jenny-Clark, eventually tied back down to earth with an increasingly silken reentry by Beck. Some beautiful avant-somethings here at the end, as Holdsworth and Lockwood flutter wildly and atonally(?) before joined slowly (and artfully) by the rest of the ensemble. Longwinded, but great Jazz from an interesting era to be Jazz.

Up next is the bright and sunny "Zebulon Dance", more of a light Jazz-Rock number. I have to say, in the midst of the cool of the basic composition, Holdsworth astounds with this solo. "Fast Travel" follows, and the wild-bucolic intro was immediately reminiscent to some of the quieter, more folksy numbers and intros performed by Mahavishnu Orchestra. The main thrust of the piece, a section of machine-gun fast playing by Lockwood, is really beautiful and classic. This is followed by an expectedly hyper-modal (if that makes a lick of sense) solo from Allan. Just the fact that anyone's fingers can move with the speed of sound is amazing, but this group has at least two such virtuosos (a term I hope I don't use lightly). And this is another moment where I'm kicking myself for not digging into Gordon Beck yet! He's killing it. And right on that level, one of the shining-est examples of drummer Aldo Romano's flavor, a more freeform feel player, reminding me at times of the style of Jack DeJohnette. What makes this track shine in addition to the performances and soloing is the actual composition of the track; hopefully it will appeal to you as well.

A return to that pastoral sorta thing, next is "Halfway House", I neglected to mention, the second of three not-quite 20-minute, but still over 10-minute numbers. The front half of this was a major showcase of Gordon Beck, not joined again by the band, most prominently Holdsworth with a solo, until minute 4; another delectable moment, of course. As has been common enough on this date, it ended as it began (but finally, you'll appreciate, with a single, quieted cough haha). Approaching the close, our second-to-last and second longest (at ~15 minutes), "Sunbird" is another starting with solitary Lockwood, flitting his proverbial wings in the hot, beating sun. Honestly, impressive to have this imagery brought to life in a very real way. We return to absolute optimistic brightness as the band joins in with more Latin flair. For fans, therefore, of Chick Corea? Methinks, yes! Hard not to find yourself repeating yourself with these kinds of releases; Lockwood's return is pretty fantastic. At one point, he makes his violin apparently laugh! I just am at a loss for words haha! Jenny-Clark picks things up from the quiet of the thematic rhythm section with a plunky, at times funky, bass solo. Certainly an impressive number to close out, yet I think folks should be aware that its appeal may be limited here. In a very real way, this is the last song on the album, as the final track is an interview with our drummer, Aldo Romano. And, of course, being a French release, interviewing a French musician, this final moment on the disc is in French, and I, almost strictly an English speaker, am at a loss. [Because of this, my averaging for my personal rating will only depend upon the first 5 of 6 tracks.]

True Rate: 3.5/5.0