PUMPKIN

Some impressive Jazz-Rock Fusion from The Netherlands--this one containing musicians who, surprisingly, have no connection to any of the other renowned Dutch jazz, jazz-rock, fusion, or prog bands.

1. "Fretless Fret" (4:48) a loose, contemplative COLTRANE-like excursion through several slow, spacious motifs that, eventually, lead straight into the next more-developed and far more dynamic song. (8.875/10) 2. "Tiro Tiro" (4:50) there is the strong feeling/presence of Weather Report and, later, in cluding a rather loose passage in the middle that borders on "free jazz" Well composed and performed sophisticated J-RFuse. Perhaps could've used more hooks. (8.875/10)

3. "For You Too" (2:43) sounds like a fun, quirky, pop-radio-oriented attention-getting tune similar to those some of the funk bands (and Weather Report) and artists like David Sanborn, Average White Band, and Jay Beckenstein's Spyro Gyro produced around this time. Light and engaging. (8.75/10)

4. "Matthew Welname" (5:25) using synth bass, flute and synthesizers provided the main melody lines over the top of Frank Noya's synth bass and Nanning Van Der Hoop's proficient drums (which are recorded a little out of sync with the rest of the instruments). With the joinder of clavinet and jazz bass in the second half the band is trying really hard to get into the funk but kind of miss the mark a bit with performances that feel just a bit too-tight (especially the bass). There are some nice performances and ideas here but something just falls short. (8.75/10) 5. "Dune Tune" (3:35) five chord ascending progression around which is built another Weather Report funk tune. The bass synth just isn't working for me, but the drumming here is OUTSTANDING! Nanning has definitely been practicing (and, here: channeling) his Billy Cobham chops! Synthesizer tries to engage us with a solo as electric piano continues playing that five-chord sequence every so often. In the third or fourth minute we finally get some suitable leadership: some excellent saxophone play from Fred Leeflang. This has the potential to be one great Jazz-Funk tune were they to have chosen a lead instrument other than that weird saw-synth. (9/10)

6. "Depression" (7:05) more expert drumming on display as the synth bass fumbles his way over his keyboard trying to find a great melodic riff for the others to key into. So much potential here! Especially with the awesome gifts of Nanning Van Der Hoop's exquisite drumming and Fred Leeflang's disciplined and erudite sax phrases. At the end of the song I feel disappointed for having such a wonderful drum clinic go wasted like this. I am glad to see that of these musicians, Nanning Van Der Hoop managed to have a long and notable career in music. He is obviously quite gifted. (13.5/15)

7. "Go On" (4:54) the Weather Report-like jazz-funk on this one may present the audience with the most fully-formed, fully-developed, and satisfying song on the album. Even weak-link bass player Fred Noya nearly acquits himself of all previous crimes and deficiencies with his nearly-in-sync performance here! Great structure, melodies, chord progressions and key changes. I particularly enjoy the Jay Beckenstein-like performance of Fred Leeflang on the soprano sax. (9/10)

8. "Free At Last" (4:44) a two-part song that rocks, swings, and funks, giving Fred Leeflang the opportunity to show that he is, in the end, just another run-of-the-mill saxophone player: spitting out some truly despicable sounds and "melodies" with his considerable solo time. Too bad, cuz, once again, drummer Nanning Van Der Hoop shines and Fred Noya lays out another passable performance. (8.6667/10)

Total Time 38:04

A collection of very interesting songs that feel quite obviously inspired by Weather Report. It is unfortunate that the exceptional talents of drummer Nanning Van Der Hoop and wind player Fred Leeflang are brought down by the unpolished skills of composer, keyboard player (and co-producer) Peter Schon and the apparently-tone-deaf Fred Noya. There is some great talent here, unfortunately it's disproportionately allocated among the four individuals in the band.

B/four stars; an excellent attempt at some solid Jazz-Rock Fusion that is, unfortunately, marred by inconsistencies and inadequacies. I so want to like this album--due in most part to my astonishment at the skills and performance of drummer Nanning Van Der Hoop--but it's just too flawed.

This 1975 Dutch release is typical of the jazz fusion climate of the time. I feel these musicians said "Let's give it a blow !"And they did. This sole album by a group of talented dutchmen takes a variety of approaches to deliver their music. It is a solid effort ; although, nothing new here. The cover depicts "two heads" floating in the air on colorful pillows. They seem to be looking at a distant city with a blue-jay on top of one of the heads. Whew , heavy symbolism abounds. "Fretless Fret" begins with a high pitched sax; then a Keith Jarrett like piano ensues. It is a pleasant and less intrusive run. " Tiro Tiro" wails with a roaming sax lead ;a break towards the end of the song exhibits nice synth flourishes; before a wall of sax reappears. Nice fusion presentation. "For You Too" showcases a lazy tempo sax line; while an intricate bass plays counter point to the sax work. "Matthew Welname" has a nice sax foundation of optimism. The piano is enjoined by synth punctuation; while flute takes the lead with another optimistic flurry of notes. Piano reappears to carry a jazzy signature of pleasure. "Dune Tune" is a is a forgettable typical jazz funk groove with soaring sax alternation with piano fills. "Depression" is a tenuous bass line, intersection with bass sax, flute enters the piece providing a lighter melody line. Synth leads the tail end of the piece with sax leads pumping in and out of some graceful piano noodling. "Go On" begins with a mellow metronome beat accented with interesting drum fills. Piano adds to the stately rhythm. Overlaid with synth leads. "Free at Last" starts with piano flourishes and cymbal accents of space and time. The drummer shines on this song with precision breaks of silence between the busy rhythm. This song is very Billy Cobham inspired. Sax, again, reigns throughout the song providing an illustrative narrative to finish the album. I like this album; nice jazz flowing along ; to suit most jazz fusion fans. I give it four stars.