JOHN LEE AND GERRY BROWN

A1. "Uptown Express" (6:13) back to try another attempt at a pop hit! What starts out sounding like Rick Springfield's "Jessie's Girl" with some funk bass play turns into The Knack and The Police (without the Ska). This being a Darryl Thompson composition, it is appropriate that he gets the first guitar solo: it's edgy and awesome but Eef's melodic smoothness and seamless runs outdo Darryl a bit, in my opinion--which is weird cuz this song is screaming out for raunchy, screaming rock soloing like Darryl's doing, but there's just something special about Eef's play that fits; it works. Too bad the foundational music isn't a bit more interesting and varied. (8.75/10)

A2. "Brothers" (4:34) more stellar guitar soloing but, unfortunately, it's played over some rather stiff and rigid/mathematically-structured music (composed by John and Darryl). The guitar playing is off the charts great, and the skill level of the rhythm corps is equally so, it's just so stiff! (8.75/10)

A3. "Rita" (5:07) picked solo guitar opens this one giving it a kind of BEATLES/JESSE COLIN YOUNG feel, but then the rest of the musicians join in and move the song into a rock version of what sounds like a standard blues song--at least until the end of the second minute when there is a brief switch over into a more dynamic GRAND FUNK RAILROAD- sounding motif. Unfortunately, this second "chorus" motif is far more interesting (and impressive) than the main theme--and composer and soloist Eef Albers' guitar is engineered oddly enough to make it sound as if he's not with the rest of the band--as if he's in his own containment shell (where he's channeling Jimi Hendrix). Really amazing guitar play, though! (9/10)

A4. "Rise On" (4:27) Blues guitar! Over what lays out to be a syncopated Jazz-Rock tune (by Gerry). It's Darryl again in the lead with Eef doing an awesome interplaying with him, just below his lead. I love John's piano chord play in the rhythm section and the cool motif switch at 2:22. John's cousins, Albert and Alvin, would be very proud of Darryl's work here. (Buddy Guy, too.) (9/10)

B1. "For Bill" (5:37) gentle picking on electric guitar opens this Darryl Thompson composition before bass, cymbals, and second guitar (Darryl Thompson) join in for some quite beautiful guitar soloing. When the full sound palette kicks in at the end of the first minute the groove continues to remain fully engaging with excellent support to Darryl's gorgeous play from the amazing trio of jazz rhythmatists. Some of the finest guitar soloing the 80s has ever presented to me! Wow! I've got tears flowing! Music doesn't get any better than this, folks! (10/10)

B2. "Close The Door" (4:43) that stinky Southern "Swamp" Rock vibe! Man! These guys are rollin'! This John Lee song sports some more amazing lead guitar play from Darryl Thompson (in the first half). Eef's solo in the second half is smooth but not as emotional and stinky as Darryl's--a bit too technical. (8.875/10)

B3. "Uncle William" (8:03) the other Eef Albers composition which had received rave reviews (for Eef's mind-blowing guitar play) in their concert tour following the Chaser album. In this version the tempo is picked up and the rhythm pattern is smoothed out to cruise along at a fairly straightforward speed. Eef does not disappoint with his fiery solos. (Looks like he has learned a lot from working side-by-side with Darryl.) What makes this song better than most of the Brothers fare is the variation and motif switches within the overall song: it makes it feel that much more thought out and polished. (13.75/15)

Total time: 38:44

Though I love the funk-jazz grooves John and Gerry have put up over the years, this hard-drivin' jazz-rock album may be my favorite: the guitar performances are just so great!

B+/4.5 stars; a near-masterpiece of guitar-showcasing rockin' jazz-rock and blues-rock. If you love great, hard-rocking guitar music, this might be right up your alley! As many reviewers/commenters have said: Eef Albers may be the best kept secret in the pantheon of guitar greats. (And Darryl Thompson, too!)

A1. "Chaser" (5:59) Discofied romp of sax-led smooth jazz. Are we moving toward Yacht Rock? Sure sounds like it. The musicianship is impeccable--as is the quality of the recording and mixing. As cheesy/schlocky as this "Don't Leave Me This Way" song is, I cannot find much fault with it. (9/10)

A2. "Will It Last?" (4:43) the DAVID SANBORN sound is here! (Don't touch this, Najee and Kenny G!) Again, I find it hard to criticize the musicianship or John & Gerry's inclination to "fall in line" with the styles dominating the day--especially when they're still producing sophisticated, tightly-performed song constructs like this. (8.875/10)

A3. "Fate Ripper" (4:33) a play on some of the Sabbath/Heep inspired rock and heavy metal creeping more and more into the charts and sales at this time (like 707, Loverboy, Ted Nugent)? And with a disco beat! Funny thing is: it works! (8.875/10)

A4. "Daily Planets" (3:52) something with a space-proggy intro! Then turned funky like a ELOY song. Oops! Here comes Bob Malach's heavily-reverbed David Sanborn sax sound. Unfortunately John keeps getting pretty stuck on a single climbing bass progression. I do like the Brothers Johnson keyboard/guitar riff at the high end. It's not bad--still filled with great musicianship--just not a great song. (8.75/10)

B1. "Celebration" (4:43) like you, I was expecting a rendering of the Kool & The Gang song of the same name but that'll have to wait another year. This one is full of horns (the genius of multitracking -especially with the advent of 48- and 96-track engineering consoles.) Nice guitar solo from Eef Albers. (8.875/10)

B2. "What It If" (4:37) another techno-rockin' funk motif over which sax and guitar (Eef Albers) trade solos (and yet another song based on a insidious and repeating rising chord progression). The rhythm track musicians are so tight and creative! This factor alone makes any "dud" song very difficult to demerit. (8.75/10)

B3. "New Waves" (4:16) more rock-chord-oriented music (this one even harboring a preponderance of elements of Souther Rock). Just not enough compositional development. The guitarist soloing this time round might be Darryl Thompson instead of Eef Albers. (8.75/10)

B4. "Prospect Park" (4:54) again trying out the styles and sound palettes of American Southern Rock, this guitar led, "power chord" energized song has another insidious push to it with a powerful electric guitar solo throughout, but especially in the third and fourth minutes and again, even more fiery, in the final. Too bad it's so one-dimensional. (8.75/10)

Though still exhibiting top notch musicianship and sound engineering, the brothers have moved from their Jazz-Funk and Funk-R&B infatuation toward the more radio- and adult-friendly Smooth Jazz. Also, much of the sound here previews the palettes that will dominate the 1980s with Techno/Glam bands like HUMAN LEAGUE, DURAN DURAN, DAVID SANBORN, as well as four or five songs that show John and Gerry experimenting with power-rock and Southern Rock.

Total time: 37:33

B/four stars; an excellent adventure into a heavier, more mainstream-oriented rock fusion.

A1. "Freeze It Up" (4:49) funky like an early Kool & The Gang song (or, later, a Brothers Johnson tune). Lots of musicians being used to fill space: especially the horns but also the clavinet, organ, synthesizers, multiple guitars, and others. As a matter of fact, the bass and drum lines are among the simplest and sparsest on the song. (8.75/10)

A2. "Love The Way You Make Me Feel" (5:06) a soul/R&B number that even includes vocals--here performed as a gospel music-like ensemble from Mtume, Cheryl Alexander, Tawatha Agee, and Lonnie Liston Smith's brother, Donald. It's not bad by any means, just not hit worthy (unless in a gospel music setting). (8.75/10)

A3. "Rise On" (6:12) trying to sound like the Mahavishnu Orchestra, or Santana, or Journey, I can see/hear the pattern of these guys getting stuck in their heads on motifs that they think probably should sound good (cuz they make such cool sense, mathematically), yet the melodies and group interactions sometimes just get stuck and overstay their welcome very quickly. The musicianship and sound engineering is never in question, it's just the like-ablitity factor that's lacking. (8.75/10)

A4. "Funky Row" (3:43) John Lee's rolling bass lines manage to start up the funk while organ, multiple rhythm guitars, multiple keys, and multiple horns lock it in. There's a Ohio Players/JB's/Kool & The Gang feel runnin' deep in this one. (8.875/10)

B1. "Talkin' Bout The Right One" (5:11) Back to the soul/R&B funk world with group vocals that sound like Maze, The Dells, Spinners, or Stylistics. John's funk-pluck bass notes aren't quite in the same league as Larry Graham, Verdine White, or Bootsy Collins. The vocals are nice--definitely hit-worthy--but maybe a few years ahead of what radio was ready for. Definitely a top three song. (9/10)

B2. "Strut 'N' Get Up" (4:38) yet another song that demonstrates John and Gerry's longing to be a part of the funk-R&B scene: everything here screams it out: the Billy Preston "Outta Space" clavinet, the funky fretless bass, the Average White Band horns and sax, the awesome motif shifts à la WAR and THE OHIO PLAYERS. A very impressive song. (Did Howard Shore steal this for the Saturday Night Live theme song or did John & Gerry steal from Howard? Most likely the latter as John & Gerry seem to really like "borrowing" themes, styles, and sounds from others.) Another top three song. (9.125/10)

B3. "Breakin'" (4:26) a more high-flyin' rocker despite the funky Disco-like drum play and free-floatin' fretless bass. The horns and keyboard synth solos are really tight and honed in--which I like--and the Disco elements are still being drowned in all of the fullness of funk-jazz and funk-R&B sound. There is a very strong feeling of the coming of the future CHIC sound here. Another very impressive song. My final top three song. (9/10)

B4. "Down The Way" (5:20) The Isleys! "Climbin' . . . Up the ladder." But then the over-sanitized "dirty" sax sound of a David Sanborn predecessor (often doubled up by another sax) comes in. (Is it Ernie Watts or Michael Brecker? Ahh! The two are taking turns!) How blessed are these two for the awesome funk foundation they have to inspire their performances!? (8.875/10)

B5. "Out The Box" (1:27) one more funk theme to put out there for the adoring funk-a-delics. (4.5/5)

Total Time: 39:32

B+/4.5 stars; a near-masterpiece of Jazz-Funk and an excellent display of Jazz-Rock Fusion musicianship and arrangements that any/every music lover could/might appreciate.

A1. "Mango Sunrise" (5:17) incredible performances by all of the band members--with amazing cohesion and great melodic hooks and riffs. (9.25/10)

A2. "Breakfast of Champions" (4:03) powerful and well-performed--especially by the lead guitarist(s)--but the main theme, repeated ad nauseum, is too dull and distance-causing. (8.75/10)

A3. "Keep It Real" (5:21) acoustic guitars with electric bass and gentle drum play (mostly cymbals) opens this like the potential-energy-filled opening of LED ZEPPELIN's "Heartbreaker." Rob Franken's synth solo is the leader for the first 90 seconds but then there is a stop and resent as the band switches into a slowed-down recapitulation of the chorus theme of the same song while Eef and Philip show off their incredible skills. Gerry really fills it up as the Al Di Meola- like power choruses bridge the verse sections. Man! Are these musicians incredible! The final minute sees the band turning back to the same motif as the opening: acoustic guitars with synthesizer creating the melody over the top. (9/10)

A4. "Ethereal Cereal" (3:40) a nod to Stanley Clarke? or Larry Coryell? or The Allman Brothers? or Jean-Luc Ponty? or Ernie Isley? The speed limits are all blown away on this one as every musician in the weave is in overdrive. Wow! Did I say "wow!" yet? If only it had a little more variety in melody and dynamics. (9/10)

B1. "The Stop and Go" (3:12) another very tight, very impressive whole-band display of sophisticated complexity and virtuosity that somehow lacks enough variation and melodic hook to remain memorable. Dripping in the super funk of the time--the stuff that Herbie, Larry Young, Parliament, and Lenny White were championing. (8.875/10)

B2. "Her Celestial Body" (5:10) a slowed down, stripped-down sound palette that has great, haunting melodies and awesome bass, drumming, and keyboard performances. (9.125/10)

B3. "Pickin' the Bone" (4:00) another song with Al Di-era RTF-inspired choruses bridging some fairly smooth BOB JAMES-like Fender Rhodes-led verses. (8.875/10)

B4. "Magnum Opus" (5:09) to the races straight out of the gate with John hitting Percy Jones-level note speed, matched by Gerry's precise yet-nuanced drumming and some awesome rhtym guitar work. The ensuing electric guitar solos are out of this world with their speed, dexterity, and melodic sensibilities. If you told me that John, Gerry and company were inspired by Lenny White's "Mating Drive" for this song I would not be at all surprised. Lenny, Dougie Rauch, Ray Gomez, and Doug Rodrigues would all be clapping enthusiastically in their congratulatory approbation. (9.5/10)

B5. "Haida" (2:53) kind of an excerpt from a jam that, while impressive, really goes nowhere. (8.75/10)

Total time: 38:05

Unlike any other bands or musicians outside of the "Bitches Brew" circle of progenitors, John Lee and Gerry Brown get it: They understand fully and completely that which Jazz-Rock Fusion is all about; they unleash music that is fully in line with the fullest potential of the Jazz-Rock Fusion medium as defined by the likes of Herbie Hancock with his Headhunters, John McLaughlin with the second incarnation of his Mahavishnu Orchestra, Chick Corea, Stanley Clarke, Al Di Meola, and Lenny White with their Return To Forever and initial solo projects.

My one complaint with the albums on which Eef Albers and Philip Catherine team up is that I do not know which guitarist's style is which: they are both so fluid, so melodically-gifted, and both use similar sounds to project their guitar playing that I never feel certain which one is soloing at any given time.

A-/five stars; a minor masterpiece of breath-taking whole-group performances from a band of total virtuosi. It could've been better (more melodic, more memorable hooks and transitions) but the playing is so off the charts amazing that I cannot deny this as an absolutely essential representation of peak Third Wave Jazz-Rock Fusion.

A1. "Infinite Jones" (6:42) opening with some careful, pensive notes and play from Gerry Brown's cymbals (and, soon, snare) and John Lee's bass--sounding as if they're starting up the engine of a lawn mower or chain saw with the pull string--but soon the rest of the band begin to enter, all at first slowly, as if just joining the party, but then congealing into a wonderfully flowing jazz-rock fusion--one in which John Lee's front and center bass is very active along 100% of his fretboard while multiple electric pianos and piano's create a rich filler in the background and bluesy lead instrument over the top. Soprano saxophonist Gary Bartz gets plenty of lead and support time as well as does percussionist Henny Wonk's wordless vocalese at the end (previewing a tactic Pat Metheny will employ quite liberally over the course of his career). Great performances from all but especially impressive is John Lee. (8.875/10)

A2. "Deliverance" (13:43) opening with a 25-second fireworks display from drummer Gerry Brown before he stops to allow John Lee, Gary Bartz, and the three keyboards players to step in and start building ther weave. Amazing speed coming from Gary Bartz' fingering of his soprano saxophone. Quite the RTF/GINO VANNELLI Jerome Richardson-like sound and melodies expressed over some very virtuosic performances from all of the contributors, especially Gerry, John, Gary, flutist Chris Hinze, and the three keyboard players. A top-notch J-R Fuze epic from some top notch musicians. High powered and eminently impressive! (28/30)

B1. "Jua" (7:04) another slow, scattered start in which the players seem to gather themselves in the effort to gradually create a jazz jam in the vein of MILES DAVIS' seminal In a Silent Way and Bitches Brew albums, this each individual instrumentalist seemingly soloing non-stop while holding together a complex weave over which individuals can step forward to solo. Saxophonist Gary Bartz is particularly powerful in this latter capacity while the pianist(s) provide a strong presence in support just beneath the soloist(s). Again, Henny Wonk provides matching vocalese to take the song's melody out at the end. Great pacing, weave intricacies, and melodies. (13.75/15)

B2. "Absolute Posolutely" (2:57) drums with slide whistle for the song's entirety. Unusual song. Nice crisp drum playing. (4.375/5)

B3. "Rise On" (3:17) piano, double bass, and drums open this one, establishing a straight-line motif over which flutes and saxes create and carry the melodies. Gerry Brown's embellishments and fills are great as is Hubert Eaves' piano support. (Hubert was apparently a very busy man on this one: aslo playing percussion and electric piano.) Rollicking fun and perfectly measured. (9/10)

B4. "Who Can See the Shadow of the Moon" (5:17) long, slow MAGMA-esque intro and build into a plodding pretentious piece of "Black Orpheus"-like mood music. Chris Hinze's flute playing is finally given its due with the support of Rob Van Den Broeck on piano and electric piano as well as Wim Stolwijk's piano and heavenly vocalese. Interesting and pretty but nothing to get too excited about despite John Lee's nice double bass play. (8.75/10)

B5. "Bamboo Madness" (2:30) Chris Hinze blowing hard on his bamboo flute while John Lee accompanies with some very funky bass play and Howard King and, eventually, Gerry Brown provide some awesome percussion and drum support, respectively. I love how John doubles up Chris' melody line in the final minute. (4.5/5)

Total time: 41:28

A-/five stars; a minor masterpiece of Second Wave Jazz-Rock Fusion from an ensemble of virtuosi. Highly recommended for all J-R F fans and fans of great, creative ensemble work.