JAZZ Q

A1. "Slunovrat" (5:35) more like a slightly-funked up FOCUS song: some skillful expression of a challenging composition rendered quite well. (9/10)

A2. "Naděje" (7:00) opens sounding quite a little like one of JEAN-LUC PONTY's hypnotic weaves within which violinist Jan Hrubý does a fine job representing the new Jazz-Rock Fusion sounds and stylings of the electric violin. After almost two minutes with Jan's violin supplying the studied lead, Michal Gera's heavily-treated trumpet (sounding a lot like a wah-wah pedaled electric guitar) takes the lead. The third round of this 90-100 second repetition/rondo of a movement is given to Martin Kratochvíl to solo over using his own unique Moog sound choice. The fourth and final "round" allows electric piano and loosely-organized other members (wordless voice, guitar, trumpet, and violin) to let the song end-- very loose and unceremoniously, I might add. I must say that each of the soloists presents themselves in very unique sound choices and that they express themselves in ways that are flashier for their use of the strange effects and sounds than for their technical speed or skill. Too bad there isn't a little more oomph or zip to the main motif. (13.375/15)

A3. "Citadela" (3:20) strings synth and pounding left-hand piano chord play supports a solo from electric bassist Přemysl Faukner. Odd but "cute" song. (8.75/10)

A4. "Tanec" (3:45) Side One's fourth song bursts forth as if coming straight off of a HERBIE HANCOCK album from 1973 or 4. Great Cobham-like drum play, great Larry Coryell-like electric guitar soloing, great Latin percussion, great bass and Fender Rhodes support and leads. A very solid, very American-sounding funky Jazz-Rock Fusion tune. (9/10)

B1. "Létavice" (5:20) the basic quartet sans drums taking turns soloing over a two chord vamp that, at times, descends one key per measure with the bass pretty much holding center of one particular key. It's okay; interesting. (8.75/10)

B2. "Toledo" (7:35) built over a Spanish rhythm motif nuanced bass and drums and rhythm guitar hold down the rhythm track while Martin and Frantisek take turns soloing in Spanish melodies that are quite similar to those used by America's great Latin-protagonist, Chick Corea--even using the same synth and keyboard sounds Chick would use. The performances of the soloists are more impressive than is the muisc they've contracted to play over (it's a bit stereotypic and one-dimensional). (13.25/15)

B3. "Zravá Dáma" (5:20) a very playful exploration of deep Herbie Hancock-like funk conveyed through the white man's filters of order and easy-on-the-brain melodies. Radical change in the second minute as the song goes into a full percussion-only motif, but then it comes back to the funky with a little more distroted guitar for the final minute or so. Weird construct with some enjoable white man's exploration of American funk. (8.75/10)

B4. "Věstba" (1:55) piano, strings and acoustic guitar doing a modern avant-garde piece. (Pre-RATIONAL DIET.) (4.375/5)

Total Time 39:50

Havung come here straight after listening to Extra Ball's Birthday debut I can't help but be underwhelmed by both the lower level of instrumental mastery of the musicians in Jazz Q but also at the immaturity of their acquisition of mastery of the skills and technologies with which to emulate much less surpass American Jazz-Rock Fusion of the day. This is what I would definitely call a "second tier" album (and band) representing the Jazz-Rock Fusion ilk.

B/four stars; an excellent Eastern European response and contribution to the Jazz-Rock Fusion revolution going on in America.

1. "Klekánice" (6:20) some interesting multi-scenic cinematic music opens this with guitarist Lubos Andrst getting some extended solo time in the second and third minutes on his acoustic guitar. At 2:40, then, the band suddenly bursts forward into fourth gear, racing smoothly down a country highway, occasionally slowing down with an oft-repeated bridge in order to negotiate turns on the road. Then, at 4:20, the band stops with a really weird change in motif which turns out only to be a different bridge (maybe a covered bridge), but then it launches right back into the fourth gear motif for some proficient electric guitar work. An okay and interesting start to the album. At least this one's true Jazz- Rock Fusion.(8.875/10)

2. "Vzkřísení" (5:15) opens with a little BOB JAMES-like feel and sound before Lubos' bluesy electric guitar steers us into an unexpected direction. But it's Martin Kratochvíl's synth (MiniMoog D) that takes the real first lead: eschewing melody for the selected sound's ghostly effect while the rest of the band maintains the rock-solid three-chord foundation. At 3:38 Lubos bursts in again, trying to re-assert the fact that this is really supposed to be a blues-rock song. But then Martin takes the next solo on his Fender Rhodes. Some very interesting elements to this song but, in the end, it's just not anything very memorable. (8.75/10)

3. "Slépěj" (5:30) guitar leading straightaway over Fender Rhodes and the rest of the band, here they are obviously trying to deliver a "pop" like melody--one with memorable hooks in it--and they are pretty successful. I love Premysl Faukner's free and undisciplined bass play throughout. And Martin gois into some of the most jazzy keyboard play he uses on the whole album. Lubos' electric guitar play is wonderfully nuanced: He even goes through some fiery John McLaughlin and melodic Santana imitations before he stops. Definitely a top three song for me. (9.125/10)

4. "Jinotaj" (4:30) Martin's piano (electric but on its most "acoustic" setting) is joined by his MiniMoog, setting forth a slow-paced motif with long, sustained note play from the synth lead. Synth strings join in the second minute as the MiniMoog continues its explorations. Jazzy chord progression from the piano in the third minute leads to a temporary key change, and then back down to something lower for the fourth minute. Interesting. Almost a lullaby. Almost a nocturne or ballad. (8.75/10)

5. "Třísť" (4:30) two melody lines coming from guitar and Fender Rhodes create a dreamy weave that is then joined by the rest of the band with Martin adding the MiniMoog to the slow-and-steady rock and roll palette. Lubos takes the first extended solo. (8.75/10)

6. "Korouhvička" (4:30) high registers of two synthesizers playing fast arpeggios give the opening the sound of a flock of birds chirpping around. Guitar, bass, cymbals begin to add their slow melodic notes to the mix, then one of Martin's keyboards peels off to try to lead, but the big reveal of structured music comes at 2:27 with a surprising blues-based motif--which lasts less than a minute before the musicians back off, returning to the roosting birds motif of the first two minutes. Weird. (8.666667/10)

7. "Krůpěj" (4:50) more shlock and surprisingly simplistic music and syrupy melodies. I do like the weird effect given the bass. (8.75/10)

8. "Větroplach" (7:25) bass and MiniMoog open this one, as in "Tríst", making a two-melody weave. ARP strings join in support of Premusl and then chorused Fender Rhodes before the drums and full keyboard complement join in during the second minute. Again Martin and the leads are trying to create melodies that are pretty and memorable, but they err a bit too much on the side of pretty, sounding often like Spyro Gyra smooth jazz. A Steely Dan-like tangent is taken in the third minute as Jan Martinec's soprano sax returns for the second appearance on the album. Still, the chord progressions and support melodies are just too melodic: they've sacrificed rhythmic creativity (even Jirí Helsic's nuanced drum play) for "prettiness." (13/15)

Total Time 42:50

The sound choices and musical style choices made by the band do not work for me: the former is too experimental and rushed into, the latter too simplistic and easy--and the melodies are just too simple. Plus, there's just something weird about the overall sound engineering. The band's exploration of the possibilities of Jazz-Rock Fusion has only resulted in some middle-of-the road Smooth Jazz.

B-/3.5 stars; while exploring a lot of interesting ideas with a lot of interesting sounds, the songs on this album are very inconsistent in style, complexity, and sound quality. The shift over to Smooth Jazz is in process. Not the best Jazz Q album to start with.

1. "Ze tmy do světla (From Dark to Light)" (6:05) plodding, cinematic music that is suddenly disrupted by an androgenous, at-times almost Janis Joplin ("Pearl")-like vocal from Joan Duggan: singing Portia's famous "The quality of mercy is not strained, ?" from William Shakespeare's Merchant of Venice. while employing a little of John McLaughlin's "Resolution" beneath parts of it. (8.75/10)

2. "Ztracená láska (Lost Soul)" (6:05) a much-more-blues-rock song with raspy Pearl-like vocals singing what sounds like more famous poetry over some Jeff Beck like heavy blues-rock music. Joan Duggan's voice is strong, powerful, confident, and definitely the best part of these songs, but it's raw, bluesy style is not usually one of my favorites. Maybe the excellent musicianship beneath her helps elevate her performances. (8.875/10)

3. "Hvězdný pták (Starbird)" (7:25) opens as a beautiful, heavily emotional song to support the gorgeous vocal (in English) from Joan Duggan. Though slow and sometimes simple (and plodding) the music of the first three and a half minutes is filled with so many wonderfully interesting and engaging nuances and flourishes, and then there is an all- instrumental period in the fifth and sixth minutes in which electric guitar and electric piano get the chance to solo-- and then the shift to Latin rhythms and scatting for the final 0:45 is totally wonderful. Not your usual prog lover's jazz- rock fusion song, but an excellent song anyway: great melodies (14/15)

4. "Čaroděj (The Wizard)" (16:25) opens with 75 seconds of gentle electric piano play before bass line, rhythm guitar line, and drums and percussion line up to set up the Latinized rock foundation over which Joan Duggan again sings. She is quite a talent! After a couple of minutes supporting the vocal, the rhythm section continues on in the same SANTANA-like vein in support of a nice Martin Kratochvíl electric piano solo. In the seventh minute we see the return of Joan Duggan in the spotlight. I really like her vocal style: it reminds me a bit of Annette Peacock. Guitarist Frantiek Francl gets a little shine in the eighth minute before the music completely stops to allow some spacious electric piano chords to support electric bassist Vladimr Padrůněk's solo over the next two minutes. I really enjoy the dynamic range exhibited in this one: the upbeat happy-go-lucky parts supporting Joan's fun vocal contrasted with the heavier, more serious passage given to the bass solo and beyond. The musicians fall a little into more rudimentary blues-rock toward the end, but it's still a great listen. (27.5/30)

5. "Epilogue" (3:25) dreamy electric piano, electric bass, and "distant" horns and percussion populate this instrumental's sonic field as we bring the album to a close. It's a cross between Rainer Brüninghaus and "Auld Lang Syne." (8.75/10)

Total Time 39:25

To my mind (and ears), this is album's music is a step backwards for this band--or, at least, as step away from Jazz- Rock Fusion (which is, I have to admit, what I'm always hoping to find) and more into heavy blues-rock.

A-/4.5 stars; a minor-masterpiece of interesting and unusual vocal jazz-rock music.

A1. "Pori 72" (13:00) a four-part suite of mostly slow, spacious, tension-filled KING CRIMSON-like bass and drum interplay with pensive electric piano and electric guitar intermittently adding some chords or notes. I really love the creativity of bass player Vladimír Padrunek. Just after the start of the third movement, one that is much more active and dynamic, if rock-oriented--around the five minute mark--Lubos Andrst begins a guitar solo that is right in league with any of the wildest eruptions that John McLaughlin ever did in the previous three years! Martin Krtochvíl even gets into the frenzy with his Fender Rhodes while the rhythm section creates a kind of SANTANA "Waves Within" (from Caravanserai)-like foundation beneath. And then in the second half of the fourth movement he does it again, this time with some more latest-greatest effects on his electric guitar--this time the sound that Robert Fripp on "Book of Saturdays." Outstanding: both of Lubos' solos. Overall, this is a very unusual, intriguing, and definitely interesting song--one that I like very much. (24.5/25)

A2. "Pozorovatelna (The Watch-Tower)" (6:45) the first half is jazz-fusion of the bluesy type, Martin Kratochvíl's Fender Rhodes often bending the sound toward the contemporary J-RF direction but then riffing off some bluesy runs to make one question that commitment. Guitarist Lubos Andrst's guitar play (and tone) on this one is definitely all blues- rock/blues. I like the chunky bass: it reminds me of someone playing underwater. (13.125/15)

B1. "Trifid" (9:20) an intriguing start that seems to offer tons of potential, but then the bluesy solos begin and with it the rather simple foundational play continues, making me sad for the missed opportunity. The long electric guitar solo sixth and seventh minutes sounds a lot like the work BUDDY GUY (which is not a bad thing, just not your usual J-R Fuse finding). Then, out of the blue, at the 7:11 mark, the singing voice of a woman comes into the picture telling us that she loves [somebody] so in a very polished, seasoned alto voice. Wow! Weird! Especially when she starts to go into her own Clare Torey "Great Gig in the Sky" vocalese. Not a bad song just an odd mish-mash of seemingly disparate parts and missed opportunities. (17.5/20)

B2. "Klobásové Hody (Sausage Feast)" (5:38) opens as a slow, plodding MILES/HERBIE-like spacious adventure into space with chunky bass and spacey reverb-treated Fender Rhodes being the most conspicuous instruments in the field. Midway through the song (at 2:35) the music turns raunchy raw R&Blues rock just like JEFF BECK's with rolling bass line, two-step drum beat, and loud, in-your-face blues-rock guitar play--sounding like a reworking of "Freeway Jam" (a song that wouldn't be coming out to the public for another couple of years. (8.75/10)

B3. "Kartágo (Carthage)" (4:28) the presence of plaintive violin in the background of this slow, background cinematic music is pretty cool as I keep expecting the appearance of a Max Schrek-like vampire from behind the shadows. Martin's Fender Rhodes takes over the lead in the second half of the song, feeling as if channeling his own improvisational internal world, playing as if almost introspectively. Very cool song. My second favorite song on the album. (9.25/10)

Total Time 39:11

Very nice rendering of the individual instruments (though, admittedly, the field is rather sparse with usually only four or five tracks being occupied) though I am not always a fan of the sounds the band and its musicians (and producer and engineers) have chosen for the instruments. The first and last songs are huge winners (I am choosing, as usual, to review only the songs that were released on the 1973 vinyl album release

A-/five stars; a minor masterpiece of what amounts, at times, to creative, adventurous Jazz-Rock Fusion, at others more Blues-Rock or R&Blues-Rock music. Definitely a wonderfully intriguing listening experience!

The greatest thing about this album is the feeling of completion. By that I mean the sense of wholeness, that the music is bound together as a complete suite. The songs may differ from each other but together they form a tapestry and that to me is grand stuff. The problem, on the other hand, is that while the music is very pleasant, atmospheric and well played, it becomes more of a background soundtrack to the day. That is not bad in itsekf but few songs stick out making me go "Ooh, here's that one!" And that is a pity, I think.

When I first ventured into this album I found the first track to be outright silly. I found the riff childish and had trouble getting past that. Now I have risen from the ashes and actually like it. It is a great opener and shows clearly what this band is all about. They are a competent bunch of eager musicians. My favorite song is "Zrava dama" which sticks out in the crowd. With it's great keyboard riff and the guitar on top, it gets my blood flowing. It is a song which showcases their ability to throw themselves between hard fusion and the most delicate jazziness. A fine song, that is.

As a whole I have to confess I enjoy but I do not love it. It is one of those albums I play every now and then and find enjoyable, perfectly suited for an evening at home, reading or just relaxing. The problem for me, as I have mentioned, is the fusion in itself. I have a hard time swallowing it's neat overcoat. I have the same problem with Weather Report and others in the same league. It gets too clean. I need dirt and the Devil may care attitude found in jazz-rock of the late 60's and early 70's. While this music is flawless and extremely talented it lacks some emotion. I think there is plenty of heart in here, that is not the problem. It borders on sterile and that is not for me.

So, if you are heavily into fusion I would say that this could be your cup of tea and I belive you would do well to check it out. If you're not, I'd say you might aswell look the other way. I find the rating hard. As a fusion album it's bound to be good but my heart is not really moved. So, therefore I will rate it three stars. Good but non-essential. As it were.

Jazz Q is in part at puzzling band. I got to know them by way of Modry Efekt (a band I cannot stop praising) on the album Coniunctio. After that free form jazz-rock experiment they went into Pozoravatelna, which was another fusion-oriented jazz-rock album of some great worth. After that they went headlong into proper jazz-rock with all guns blazing on Symbiosis. A great album, void of the slick, sometimes noodling fusion to come on later albums. And then there's this live album. A pure, for the most part anyway, bluesy affair. Sort of weird but at the same time extremely interesting turn of events, especially when viewed hindsight.

This album has very, very little to do with prog. Actually it is not, I'd say. Well, there are jazzy playing alright and "Freedom jazz dance" is jazz-rock but for the most part, as I've stated, it is a blues album played in front of a live audience. Actually, as live albums go it's not bad. Not bad at all. The sound quality is not for audiophiles, a thing that actually increases the album's worth. It gives it that extra edge.

The performance is lively and raucious, well played and groovy in that bluesy, jazz-rock kind of way. The cover of Stevie Wonder's "Living for the city" is quite nice and "Sanctuary" is another pleasant tune. Personally I enjoy the first three tracks the most. They are kicking and lively and puts a smile on my face.

Live albums are seldom essential. Sometimes they are an excellent addition to one's collection but mostly they are not. In this case I'd say it is for collectors only BUT i still think it shows the bands attitude towards music and jazz-rock in general. As such it is interesting and in retrospect it shows a band able to cross the boundaries between jazz, rock, blues and beyond in a very competent and able manner. Not prog but still an interesting piece of musical history.

Three stars and a smiling face.

Unlike Pozoravatelna Symbiosis is graced with vocals by Joan Duggan. She sounds like a Czech Janis Joplin or Maggie Bell. Sort of hoarse and powerful. The material on Symbiosis is really jazz-rock of the old school. Gritty, lengthy and soulful. This was the first album I really delved into and it is the only album by Jazz Q I find really interesting, seeing that I am no big fan of slick, noodling fusion.

"From dark to light" is a really great track. A slow, ballady thing that transcends the usual. It is spacious and floating, flowing and really interesting. The next track, "Lost soul", is apart from "The wizard" my favorite on here. Such a heavy piece, with the electric piano thumping and stabbing those great jazzy chords over the distorted guitar. Marvellous!

Then there is "The wizard". 16 minutes of jazz-rock extravaganza. It is really a tour de force of the genre, building and transforming itself it goes from rough to smooth and back again. Really impressive piece.

I sometimes find Duggans vocals to be slightly annoying, actually, but I am able to see past that and recognize the immense quality of this album. It is tight, cohesive, progressive and inspired. I really dig it and think that, while not in my top 5 when it comes to jazz-rock, it deserves to be ranked a classic in it's genre. More people really ought to check it out.

This, their first album, is in many ways their best. It builds in some aspects on the sounds of Coniunctio, though not nearly as intense as that album. The music on Pozoravatelna is certainly more noodling and spacious, though interrupted at times (thank God) by more frantic outbursts.

The album is almost entirely instrumental, apart from some vocals added by Joan Duggan. The playing is impeccable and the sound, especially the guitar, is quite raw in a good way, as much of the early 70's jazz-rock.

I think that Pozoravatelna is a bit too heavy on the noodling and the jazz is in a too pure a form for me personally. The interesting parts are those that rock, where the band kicks and tears up a storm. That's where I start to dig it. The best song is "Trifid" which balances their jazzy side with rock wonderfully.

All in all I'd say that this album, along their next, is the best of the lot. Their fusiony style got too slick and noodling for my taste in the years to come, leaving much of the raw elements aside. Too bad, really. On the other hand, if you are into fusion I think Jazz Q has a lot to offer. Highly skilled and competent they do produce top notch fusion. I guess it is just not for me. My rating will be three stars and that is by my personal taste. If you like fusion, I guess you could rate it four.

As with their fellow country men in Modry Efekt the band changes direction throughout their recording career. Maybe not to the same extent as Modry Efekt but they do progress.

The first two albums are the best. The music displays a great fusion between rock, prog and jazz. The first album, Pozorovatelna, is quite something. Great jazz-rock with a slight free form feeling. The second album follows in the jazz-rock vein, though less free in it's form. I guess that is the album I prefer the most.

After the first two albums they ride straight into the land of Fusion and the further they ride the more slick and fusionish they become. Now, I don't mind fusion but I find that the genre at times get too meandering and pointless. Well executed but there's not much going on. Maybe that is a harsh judgement. Still, I think it is true, at least as far as Jazz Q is concerned. Elegie is a great album in many ways but the later ones are just a bit too clean and fusion-y for my taste.

Is this a relevant box? Well, I don't know. The Modry Efekt box is essential, I think. I will never give that up. I like the Jazz Q box, for sure. It is interesting and the progress is worth a listen. I would not, however, recommend someone to buy this box unless you are seriously into fusion. The first two or three albums are well worth having but on a personal level I would not have bought the fusion-ridden later ones. That is not to say that they are bad. Thet are, in fact, extremely well played and executed, just not that exciting.

All in all, an interesting box but not essential in the least.