OREGON

Part of Paul Winter's Consort continue flying on their own without their sixth studio album release since 1971. The band's acoustic direction of Jazz-Rock Fusion continues to preview an entire movement of what will become known as World Music or World Fusion.

1. "Yellow Bell" (7:03) Ralph Towner playing some beautiful piano with Glen Moore's simple yet double bass accompaniment supports Paul McCandless on some beautiful oboe play while Colin Walcott supports on congas and cymbals. Gorgeous melodies make for quite a beautiful and introspective listening experience. There is quite a little Chick Corea feel to the melody lines created throughout this piece. (13.5/15) 2. "Fall 77" (4:27) a song that insists on sounding like the introductory motif to WEATHER REPORT's massive hit, "Birdland." (8.75/10)

3. "Reprise" (1:02) a little bluesy jazz piano solo from Ralph. (4.375/5)

4. "Cane Fields" (4:37) Colin Walcott's tabla with Paul's Cor Anglais are supported by Ralph's 12-string guitar chords and Glen's interesting bass note choices. (8.75/10)

5. "Dance To The Morning Star" (5:36) Colin on kalimba with Glen's rhythmic bass propelling the song forward so that Paul's oboe and Ralph's Django/banjo-like guitar can solo, the former more melodically while the latter is more in line with Glen's and now-Colin's galloping and gallumphing. Interesting. (8.75/10)

6. "Vision Of A Dancer" (4:03) sitar and cor anglais are acompanied by melodic Scott-LaFaro-like bass with Ralph's Chick Corea-like piano. A shining, crystalline example of the direction John McLaughlin has turned at the same time as these guys. (8.875/10)

7. "Story Telling" (1:03) Colin's Indian percussion solo.

8. "Waterwheel" (6:27) opening like a classical music guitar piece, tabla, sitar, and droning bowed bass join in before Pau McCandless' oboe enters to supply the exotic lead. Hypnotic and beautiful, the music takes a little detour at the end of the second minute before coming back to full Christmas weave for Paul and Ralph's now this is what one has to call East-West World Fusion! (9/10)

9. "Witchi-Tai-To" (8:21) sitar and guitar open this one as a gentle duet with Colin's sitar play being at times more exploratory and experimental. The descending chord-and-melody line Ralph and Glen use here in support of Colin's sitar is quite similar to that of The Beatles' "Blackbird/Dear Prudence" as well as Crosby, Stills, Nash & Young's "Helpless." The players switch instruments halfway in to drums/percussion for Colin, piano for Ralph, and cor anglais for Paul. Nice song. More of a jam than a mathematically-composed jazz tune. (17.5/20)

Total time 42:39

Though the recording and performances are all stellar, the music is not always as full or jazzy as I was expecting and/or hoping for. (I guess that would be attributable to the absence of drums, right?) Still, this is, without a doubt, very enjoyable and impressive song-crafting.

B/four stars; an excellent display of skilled acoustic jazz fusion giving the listener plenty of glimpses of the nascent World Music and World Fusion scenes.

With the acoustic instrumentation of chamber jazz, the experimentalism and genre-shifting of fusion, and ample chops to spare, Oregon were a promising unit already when they performed these live improvisations for Radio Bremen. This archival release finds them in excellent form, presenting nearly two hours of material. Ralph Towner and company do a fine job both building on early compositions from their first few studio albums and unveiling entirely new material.

As good as those early studio efforts are, in this free-roving live context the band really shine, allowing the material to stretch out and exercising their flights of fancy expertly. Having been shut away in the archives for nearly 50 years, it's wonderful that these excellent performances have now been given an official release.

"Oregon at their most melodic, this 1974 LP is rated by many fans as their best of their long career. Essential." The citation is from the CD reissue. To some degree I was already familiar with the output of this band from guess- where, but my initial thought when listening to this third album was, "At their most melodic?? How dry and boring they might be at their less melodic then?", but my reception definitely evolved for the better. On ProgArchives some Oregon albums are nevertheless more appreciated, e.g. Out of the Woods (1978).

"Uncompromising avant-jazz group who defy categorization", says All Music Guide about Oregon. A good way to start describing this instrumental music is to speak of the instrumentation. The most prolific composer -- at least on this album -- is the guitarist Ralph Towner, who's in our database also as a solo artist. In addition to classical guitar and 12 string guitar, he plays piano, French horn, clay drums and hand claps. Paul McCandless plays oboe, English horn and bass clarinet; Glen Moore is the bassist who adds some piano, violin and flute, and Collin Walcott plays all kinds of percussion (apart from a drum kit) plus dulcimer and clarinet. No electric keyboards or electric guitar in sight. In short: acoustic and rather meditative chamber jazz with folk and World Music flavour.

Towner's lengthy composition 'Tide Pool' is centering around tablas and acoustic guitar, and frankly for the most part I find it a dull, over-extended jam session, up to the double bass solo. 'Witchi-Tai-To' is a classic composition by Jim Pepper, also recorded by Jan Garbarek the very same year. The bright piano melodies make it a refreshing, happy little piece. 'Ghost Beads' by Towner is perhaps also slightly too long in showcasing the acoustic virtuosity.

In the slow and meditative 'Deer Path' tablas and other percussion are silent for once, so there's a nice, spacey atmosphere in this sketch-like brief track. Paul McCandless has composed 'Fond Libré', a delicate and introspective piece focusing on his wind instruments. At this point I was still waiting for the more melodic music on my first listening, and the 2-minute rhythm-centred 'Street Dance' with an avant edge didn't help that at all.

'Rain Maker' (by Towner) is instantly likeable and indeed relatively melodic. Reeds, piano and acoustic guitar flow beautifully, and the percussion stays temperate. 'Poesía' credited to the whole band is spacey and meditative. Walcott's 'Margueritte' returns to the duller, jam-like approach, with lots of hand percussion.

Acquainted fans of Oregon will undoubtedly find this a pleasant album while a more casual listener, I presume, has to overcome some boredom before getting the introspective beauty. Helps a lot if you enjoy tablas and other World flavoured percussion, and reeds such as oboe.

I am wondering why this album is barely known to the PA community?

Style-wise, the Together is definitely not "rocky" at all (thankfully!). And it's jazzier than many, if not most other Oregon records I can think of. In this album, Oregon are fusing together the sonic language and the sensibilities of the post-bop jazz with with their favorite exotic "world folk" sounds and rhythms .. and finely tune the whole assembly to oscillate at the frequency of the classic electric fusion.

How they are doing this, I can't say, but the result is quite spectacular.

I highly recommend this to everyone who likes fusion "with a twist", or avant-gaardish, but not crazy contemporary jazz with additional structure and dimension to it.

On Oregon's debut album what you get is jazz fusion with a strong emphasis on the jazz side of the equation. In fact, I'd count Oregon as being one of the few fusion outfits who don't actually draw that much on rock - instead, the main non-jazz influences are folk music and raga, the latter seeping in through Collin Walcott's tabla and sitar. The title of "Music of Another Present Era" is apt, for the album at once has that rich vein of experimentalism characteristic of so much 1970s music and has a production that is strongly reminiscent of the era, and yet at the same time they seem to sit outside all the contemporary trends of 1972, sounding more like a continuation of 1960s post-bop in some places. Intriguing stuff, though it does meander a little.

Oregon is a live history of world jazz fusion, and their new album after four decades of activity only confirms they still are capable to play good music. Well known as solo guitarist Ralph Towner is obvious band's leader and main composer. On this album he plays acoustic guitars,guitar synth and piano.

Music during all album is mostly relaxed, a bit melancholic, with strong roots in acoustic jazz. Musicians plays together for years so they sound as real band, not just few collaborators. Plenty world timbers and elements make their music more melodic and easy listening. Never cheesy, this album for sure is between well made pleasant and professional releases, but far not innovative one.

Most controversial moment in album's music for me is Towner's places where he uses guitar synth. Its sound,reminding flute music,modified by sound synthesizer, destroys almost acoustic,natural,warm and well balanced album's atmosphere. I never liked that instrument, even on much more energetic Alan Holdsworth albums. There it sound even more out of place.

Happily, there are enough compositions without guitar synth sound. They are mostly pleasant,a bit too comfortable, contemporary jazz with some world fusion elements. Nice to listen, but energetic level could be more intensive for me. Not sleepy, but not far from lullaby in some moments.

Anyway, band still can play a good music, after all this years. Don't expect surprises there, but compositional and technical level of the band is high enough to record very competent album.

OREGON has been a band that i've had a hard time getting into. I guess it's because it's all- acoustic. Anyway I though i'd take a chance on this one mainly because of a review by R.Hutchinson. He talks about how he wore out two cassettes of this recording back in the day.The band hadn't recorded a studio album for a few years and then signed with ECM. So this album is fresh, it's like the band has been rejuvinated.They would use synths as well for the first time and I like the way they're used in the background to create atmosphere.That alone might be why this one clicked with me immediately. Check out the album cover of the artist using the sky as his canvas. He's about to throw a disc of orange paint at it. Cool.

"Rapids" opens with sax and piano leading the way as it builds to a full sound then settles back. I like the percussion before 4 minutes as the sax solos. It settles again after 5 minutes then rebuilds after 6 1/2 minutes. "Beacon" opens with viola and aboe. Some percussion joins in as these sparse sounds continue. Cool tune. "Taos" opens with percussion that comes and goes. Bass 2 1/2 minutes in with synths as it builds.Tin flute too. Amazing sound here. Some classical guitar then it turns spacey late. "Beside A Brook" opens with piano and eventually we also get English horn and aboe helping out.

"Arianna" is interesting with the sounds that come and go together. Sitar, English horn and aboe on this one all create some great sounds.The tempo picks up 2 1/2 minutes in. "There Was No Moon That Night" opens with classical guitar followed by clarinet before a minute. It becomes intense briefly 2 1/2 minutes in. I like the clarinet 5 minutes in as the guitar and percussion help out. "Skyline" is a short piece with synths, bass and percussion. "Impending Bloom" is different. We get these vocal expressions that I like with a catchy rhythm. Piano after 1 1/2 minutes with english horn to follow. Musette (horn) takes over 5 minutes in.

A classy recording reminding me of Chamber Music. Intricate and beautifully done.

This is the edition issued on 1978, instead the re-mastered version dated 1995 of course is the best one, regarding of such an interesting chamber jazz, fusion-tinged...in fact the orchestrations- by means of the woodwind- are enhanced in a remarkable manner and in particular the job performed by Paul McCandless at the bass clarinet and the horn too! Moreover I've re-discovered such a good Collin Walcott's skill, after his departure from the Oregon ensemble in the course of 1984...after that event the ensemble won't be the same anymore...but coming back to the present issue, despite being not suspenseful (like in a few true progressive works nowadays and something more in the seventies, I mean), it's stunning. Otherwise- actually- the music of Oregon is intelligent fusion and nothing else, but you can find some fine music breaks-through inside and this feature alone could be enough to judge the album as well worth checking out, at least!! At the end nevermind if their music is an hybrid genre, in the middle between the chamber jazz and a kind of world music, cause in its particular style is unique!!

So my evaluation is "4 stars" inside a collection of experimental acoustic jazz..."3 stars" in a normal prog collection, especially if this "Out of the woods" is judged by a "prog purist".

It is not begin to being able to do a certain kind of style ..thinking.. somehow. We do not think that I am snugly settled mutually unite it etc. as the group. Of course, it is thought that the style derives always secondarily though the performance does a tune to which we have listened and a favorite tune. There was no target "Such one", and our present music was made as a result at the time of beginning. I try only to make use of an individual talent when composing.

Therefore, we do not think that the same performance repeats twice. In the thing of entering the best ten or not entering, the sonority might have been good by chance. The audience might be good and the hall be good. Therefore, if I understand when that is better, we add the section during the tune fast.

It is our ways, and the cooperative relationship is the one saying enough because there are only four people.

Other members also were always talking about zeal to music to the band as well as the remark of this Ralph Towner. It struck close to home to the band and the listener as a result on the boundary of this album. Therefore, how the death of Collin Walcott influenced the band and the listener for the band might be understood.

Distinguished services of Collin Walcott that introduces not only Sitar but even also the charm of Tabla to the field of Jazz Rock might be large. Many of original performance in David Darling and Codona that is. And, it is not only musical instruments of simple ethno and it should make a special mention of the point well versed in other musical instruments. Other members to say nothing of this can also find a similar point. And, the creativity was one of the charms of Oregon.

The album that had been announced through the label called Vanguard and Elektra always offered the music of fine quality for them as one shape and existence. And, the work in ECM assumed to be the most suitable for the sound of the band might have been an indeed new challenge for them. The content of the album that Oregon left ECM as a result will receive the impression in which the color of ECM is indeed reflected well.

"Oregon" that had been announced in 1983 offered the music of an extremely hard quality. On the other hand, this "Crossing" receives the impression with a little soft quality. And, this album has become the posthumous work of Collin Walcott for Oregon as a result. This album might be at a special position for the fan and the listener because the impression of the fact is strong. It is assumed that this album bears the part of a temporary compilation of the band in the opinion of the fan and is often recognized.

Ralph Towner uses Prophet 5 in this album as well as the album in 1983. The sound can be never emphasized and plays the role of the support of the tune. A mysterious color sense might be given by suitable for acoustic musical instruments. It is said that it likes Ralph Towner at this time and these musical instruments were used well.

The same thing will be able to be said for Paul McCandless and Glen Moore. The processing of a momentary agility and the space that produces the sound is overwhelming. The work of the band that leaves it for ECM has good quality that indeed reflects the age and a hard impression.

"Queen Of Sydney" is a tune by Paul McCandless. The melody by Prophet 5 makes the sense of serenity and the anacatesthesia. Melody of Oboe that plays mysterious music scale. Flavor with good percussion instrument in close relation to repeated melody. A little avant-garde impression is given. The construction of the line of a piano melody and Bass that goes out in the latter half of the tune makes an overwhelming, transparent feeling. The anacatesthesia of fine quality is exactly constructed.

"Pepe Linque" is a tune by Glen Moore. A transparent feeling extremely drifts in the tune. And, the melody with the race based on the rhythm of Swing is developed. The percussion instrument gives an original part that is as an impression because it uses Tabla. The melody of soprano Sax is glossy. And, the band is performing a light tune.

It is a tune where the flavor of the band was expressed well overall as for "Alpenbridge". Melody of arpeggio with tension with acoustic guitar. Their originality is shown according to the sound of Oboe and Sitar that it twines there. The melody is fantastic as much as possible.

"Travel By Day" is a tune by Collin Walcott. Melody of complete unison by Sitar and Bass. Each member uses well and performs the space. Especially, the melody that Sitar plays makes good use of harmony with Chord and the tension of Rock. The composition with the tension might be splendid.

A piano melody with expression of feelings sounds beautifully in "Kronach Waltz". Rhythm that is reminiscent of waltz rhythm and a few tangos. The feature the melody by Oboe and the press roll of Snare Drum.

"The Glide" starts the band while emitting the sound of Prophet 5 forward in union. Very fresh Jazz Rock is constructed. Each member is having them demonstrate characteristics of the sounds of acoustic musical instruments enough. The tune is very Jazz of fine quality. The composition in which each member's Solo is turned is splendid. The sound of Prophet 5 that supports the tune doesn't obstruct the tune. Part of Solo of piano and Oboe. And, the line of Bass that completely supports the tune. The tune is very high-quality.

"Amaryllis" is a tune with a transparent feeling very much. The melody of 12 bowstring guitar that Ralph Towner plays might be a performance for him. Obbligati of keyboard that gives composition in which tempo is not felt and grand impression. The tune will shift to Jazz Rock of fine quality and the element of ethnical before long. Various elements might mix and an advanced composition be a performance that they exactly do. A good flavor of the band is expressed well.

A wind instrument and a piano melody crosswire to "Looking-Glass Man". Twining of the line of the composition and Bass to make good use of the unison is complete. Especially, it is a composition in which twining of the melody concerning musical instruments is valued. The flow of this tune that excludes the rhythm is one of the charms of them.

"Crossing" gives a very a sound that each member plays pastoral impression. Beautiful piano melody. Part of guitar and wind instrument to get on the flow. And, twining of the drum that decides the impression of the tune increases degree of freedom. It might be ..composition of beauty very extremely and the quality.. finished.

It might be an album with the role of the compilation of the music character that the band cultivated exactly. And, the music of the quality after it is dedicated to Collin Walcott and the fan is here.

What a talented and unique sounding band OREGON are. As i said when reviewing their "Out Of The Woods" album, if i gave my rating based on objectivity this is a 4 possibly a 5 star record. Again i have a hard time getting past the fact that it's an all acoustic album. My loss i know. Once again acoustic guitars,aboe,piano and percussion lead the way. I must say i do prefer this one over "Out Of The Woods" but not by much. If you can get the re-issue with both of these paired together i wouldn't hesitate.

I read where someone refered to this music as "acoustic jazz chamber music". Or something like that. "June Bug" kicks in quickly to an uptempo pace with percussion,aboe and acoustic guitar. Just a great sound with so much going on. "Vessel" is the longest track on here. Percussion of some sort to open as piano comes in gently. Some dissonant horns join in around 3 minutes. Bass clarinet too then the piano takes over. Percussion becomes the focus again in this laid back tune. "Sierra Leone" is very quiet with some sparse aboe until we get this World music sound around a minute. It's building.

"Ogden Road" opens with piano as a horn comes in and other sounds. Percussion around 1 1/2 minutes. The tempo continues to change. Acoustic guitar before 3 minutes. Horns 3 1/2 minutes. Aboe before 6 minutes with piano. Excellent track. "House Of Wax" opens with piano as sitar joins in. It seems out of place to me. "Hungry Heart" opens with percussion as aboe,bass,acoustic guitar and other sounds join in. "Orrington's Escape" is led by aboe but i don't like it. Thankfully it's very short. "Roots In The Sky" builds with horns,percussion and other sounds. It settles right down then builds a lot more slowly this time. "Longing,So Long" sounds like sounds from the jungle to open. Percussion and aboe follow with acoustic guitar. Some bass and piano too as the tempo continues to change.

So an impressive release that i need to be in the right mood for. I found this more jazzy than "Out Of The Woods" and that's probably why i liked it more. 3.5 stars.