JOHN HACKETT & NICK FLETCHER

"Satori" blasts off from the radar guided launch pad, a delirious jazz-rock interpretation that hints at Return to Forever sensations, mostly due to the impressive drumming skills of Anika Nilles, the groovy bass undertow from fellow German Jonathon Cuniado, the thrilling keyboards of Norwegian Jan Gunnar Hoff as well as Caroline Bonnett from the UK. Nick is extremely a team player, giving lots of leeway for his guests to show off their talents. Such is the case on the glittering note fest "The Secret of Ascent", where the keyboard work is particularly exuberant, setting up a wildly savage guitar romp that defies gravity, falling apple not withstanding. Just like the Genesis minstrel, Fletcher can bring out his acoustic guitar skills, and with the help of a single spotlight, send medieval shivers down one' s spine. "Joy Turning into Sorrow" therefore possesses a timeless aura 1424 or 2024, who cares, its beautiful.

Moving stealthily into the sunshiny aroma of "Sitting in the Sunboat", the pace is both languorous and lush, seemingly effortless within the myriad of soft notes played. Like baton twirler on a parade down main street, Nick dazzles both technically (fast as hell) and emotionally (the passion is off the charts), tight as a filly tested rocket booster O seal, handing over the focus to some dazzling e-piano work that exudes glitter and gold. Nilles and Cuniado steer the good ship with sails full out, no swells in sight and crisp winds blowing. Horatio Nelson would be proud.

The epic, nearly 9-minute, extravaganza "Her Eyes of Azure Blue" showcases a wide range of musical impressions, expertly chiseled with a serene and romantic introduction that conjures images of female beauty, the electric guitar forging into a higher level of emotion, that even hinted at the legendary Jan Akkerman. Orchestrations enhance the sultry mood; the die is cast for a lengthy torch-lit fretboard seduction, as this is definitely the core of the album. Infusing a bass solo will never go wrong in my book, a serpentine whirl that nails the theme perfectly. Sensual, flirty and entirely alluring, Nick makes his guitar sing, caress and entice, and convincingly so. Simply magnificent. Wedding music.

A return to playfulness is to be found on "A Pathway to the Hermitage ", very cool, with a touch of 'insouciance' as the French would say. Yet when the guitar enters the fray, it wavers flawlessly between the ease of technique and the ardour of emotion, the band clearing the path ahead as well as checking the backside for any stragglers. There are none. His velocity is balanced by finesse, a rare commodity indeed, which is why, he never comes off as a show-off, quite to the contrary, its almost as if he just wants to keep his cool!

The title track is suitably cosmic in scope, with electronic shivering that evolves into a nearly Celtic wave, searching deliberately a vector to travel on, without banging into a flurry of nasty asteroids. The electric guitar does decide to go do an out of vehicle space walk, whether NASA approves or not. Houston, we have no problem! Perhaps expecting a low-subdued troubadour experience with a title like "The Sage, the Monk, and the Scholar", quite the opposite bellows from the speakers, we get a torrid rocking affair propelled by a manic rhythm section that holds nothing back, a raging, blues-drenched guitar that could be easily mistaken for ZZ Top, (yeah, I know?), chugging riffs, churning organ barrages, and chubby bass deflections. What the hell?

"Crossing The Sacred Threshold" is another podium for some sweet ruminations, a typical jazz-rock foray where the mood is introspective yet adventurous, the drums being off the charts genius, though the theme throughout is laissez-faire relaxed. Just a tad perfunctory for this reviewer, nevertheless great playing by all involved. Stunning finale, "To Hear Angels Sing "presents a lovely chanting female voice, named Olga Karpova, who bids us farewell with a celestial display, that resonates calm beauty, serene reflection and quiet splendour, all much needed in our insanely hectic daily lifestyle, electronic sheets as orchestrations that resonate and echo in both body and spirit.

Most definitely an artist to follow closely, most assuredly a massive guitar talent up there with the big boys. 4.5 celestial antennas

First, let's delve into the title. The quadrivium represents the four liberal arts that were taught at medieval universities: mathematics, geometry, astronomy, and music. Fletcher, however, focuses on three disciplines in this album, omitting mathematics, as the album is entirely dedicated to music. Fortunately, he presents these elements in a tasteful and easily digestible manner.

Being a jazz-rock guitarist often involves navigating treacherous waters due to the high level of skill required. The bar is set high, demanding something exceptional to stand out. Nick Fletcher unquestionably meets this challenge. His excellent technique resonates with emotion as he skillfully plays the strings, reminiscent of the delightful style of Alan Holdsworth. Unlike some guitarists who strike each note individually, Fletcher, like Holdsworth, connects his notes more fluidly, playing multiple notes consecutively with a single stroke. What sets him apart is his consistent infusion of jazz-rock with influences from David Gilmour, Steve Hackett, or Andy Latimer. This unique blend makes the album particularly appealing to progressive jazz-rock enthusiasts, especially considering the talented band accompanying Fletcher.

Anika Nilles, a newcomer to the band, handles the drums. With experience playing for Jeff Beck, her skills are evident in the album's seamless combination of tight grooves and free-flowing fills, complementing Fletcher's style. This open approach allows bassist Tim Harries, formerly with Bill Bruford's Earthworks and Iona, the freedom to deliver rich and expressive tones. The keyboards are expertly handled by Caroline Bonnett and Dave Bainbridge, a progressive rock veteran of this millennium. Bonnett, in fact, serves as a co-producer of the album. Together, this ensemble, along with Fletcher, provides nearly 55 minutes of delightful musical exploration.

The album opens with the Pink Floyd-esque A Wave On The Ocean Of Eternity, where any comparison to the intro of Shine On You Crazy Diamond is forgiven due to the evident love for the note, impeccable timing, and grand expression. This promising track sets the tone for a diverse album, with each piece offering a unique flavor. The variation between tracks is a pleasant discovery, evident in the first few pieces. Overture To The Cosmos is built on robust riffs with a brief guitar solo interspersed, concluding with an ethereal section showcasing Fletcher's sense of timing. On the other hand, Riding The Event Horizon is a breezy funk piece featuring a jazzy piano solo by Bainbridge, while the drumless interlude Ziggurat Of Dreams relies on haunting soundscapes.

What makes the album enjoyable is its constant flow, ensuring listeners remain engaged without a dull moment. A closer look at specific tracks, namely Aphelion, The Helix, and Standing On The Edge Of Time, is necessary.

As fate would have it, Aphelion happens to be my favorite track, resonating with the fantastic Camel atmosphere. The guitar bursts, accompanied by sparkling arpeggios, delightful Hammond organ chords, and dynamic bass lines, all supported by Anika Nilles' top-notch drumwork, create an irresistible blend. My appetite for such musical haute cuisine is insatiable. Whenever I hear the harmonies in a track like The Helix, I envision Eddie Mulder and Nick Fletcher propelling each other to the peaks of their universe. If only that were true. Does this album break new ground? The closing track, Standing On The Edge Of Time, also deserves praise, providing the album with the luster befitting "Quadrivium."

"Quadrivium" is an album that jazz-rock enthusiasts and progheads alike will enjoy. Who wouldn't, really?

P.S. The music on the album is clear in its intent, but the meaning behind the peculiar front cover remains a mystery to me.

Orginally posted on progenrock.com

Speaking of which, the explosive launch of 'Overture to the Cosmos' spares no moment in blasting into orbit with a vortex of thunder and lightning, with coarse electric guitar blasts propelled by the intense Nilles concussion, solid bass boosters and atmospheric keyboard colourations. Breathtaking piece of havoc. Once flung into the stratosphere, time for a stage release into a jazzier realm, floating at warp speed into the unknown, a perfect opportunity for Bainbridge to show off his considerable piano skills and Nilles to show her subtle side. Fletcher enters the fray with a blistering rock solo that takes over the laid-back platform and vaults the arrangement into a real happy place, a perfect synthesis of the two styles at play. Visions of smiling musicians suspended in zero gravity. Change of pace with the moodily introspective "Ziggurat of Dreams Part1", a tasty intermezzo of colourful bluesy picking that straddles the jazz and soundtrack realms with just the right amount of reflection. A sensational segue into the complex madness of "The Fifth Parallel", a polyrhythmic cauldron of jazz-rock insanity that should make Jeff Beck smile from up above, a rather incredible drum display from Anika that boggles the mind. Fletcher flutters like a bumble bee in heat, screeching and pleading notes out of his instrument, egged along by Harries and Bainbridge. Where did I leave my oxygen mask? The shift back to colour and restraint is obvious on "Aphelion", where the playing regales in a classic jazz-rock setting, a style where all the complexity is made to sound rather liquid and carefree. Ridiculous chops by all involved, case in point Bainbridge delivering a deliriously fluid piano that has a elegant Oscar Peterson feel, while Anika kills it on the kit. Needless to repeat that Fletcher roams like a seasoned world-weary traveller, dropping notes with impassioned glee.

After a brief and settling "Ziggurat of Dreams Part 2", the stunningly robust "The Helix" is another turbo powered boost, starting off fairly innocuously with some twirling flickers of the wrist upon the six strings, a clear showcase of Fletcher's talent and mastery of tone, winking with admiration at the defunct Holdsworth and Beck (two of the GOATS) and as befits a spiral, it swirls into insanity like a tornado gone berserk. Not necessarily heavy but most definitely solid. Musicians out there will twitch in awe. Impressively cinematographic, this track "To the Stars We Shall Return" is the beginning to the crowning achievement on the set-list, a perfect companion to Santana's legendary jazz-rock masterpiece 'Caravanserai', offering the same sweeping, sandstorm-incrusted camel ride through the broiling Sahara, escorted by Middle Eastern percussives and headed in the direction of India, where "The Journey to Varanasi" awaits. This 7 minute + extravaganza is worth the purchase on its own merits, a mesmerizing hurricane of sound and fury, taking the Santana feel right into the Mahavishnu realm. Sizzling, molten lava guitar, played with unreal velocity and contrasting tonal restraint is a jaw -dropper. Add John MacLaughlin to the list of applauding fans! Might as well throw in Gilmour and Hackett, while we are at it.

How about some beauty to finish off this amazing recording, what with all the sizzle and fizzle, there is nothing more gratifying that a tender 'au revoir' and "Standing on the Edge of Time" does the 'denouement' (one of Lazland's favourite words) thingy just absolutely perfectly. Plato will also be happy. If I may, Nick, if you read this, please, MORE albums like this, same crew!!!

4.5 Roman Philosophers

Just listen to the opener to get the picture of what I'm saying: the thing starts with an almost heavy riffage by Nick Fletcher, and then the vocals kick in, wrapped in effects to ensure their presence in the mix. The result is great to my ears, even when it's not "classic", that's to say, there are no epic vocals riding over the band's proceedings. They rather contribute strategic brushes on a pair with the transverse flute, and the electric & acoustic guitars.

The overall sound of the album fluctuates (in a very natural and likable way) from Jazz-Rock/Fusion to Neo-Prog. If you want to taste the instrumental contributions of the flute and some electric guitar soloing, try track 3, A Time In Place. For more traditionally constructed songs, please go to tracks 6 and 8, Mist On The Lake & Sign Of The Times.

An album made with taste and talent by a dedicated group of musicians.