JET LAG

Following in teh steps of "Chocolate Kings" in its pursuit of jazzier depths, and even enhancing the fusion element while driving it into a more accessible direction which grows farther from the realms of symphonic prog, "Jet Lag" happens to be a genuine manifesto of the sonic explorations that PFM was embarking on at this point of their career. One thing is clear, the departure of Pagani was no small deal: his signature sensibility and adventurous eclecticism on flute and violin were more than just ornaments to the input provided by his fellow members - they were essential assets to the core PFM sound. Now tha twe have a quintaessentially North American musician such as Gregory Bloch operating as the missing piece, the gear is complete in order to fulfill the American flavors that might as well be very helpful in this transitional era of PFM. So, things are as they are supposed to be, and PFM is still capable of cooking good musical ideas although it is increasingly evident that the band has left behind a phase of golden progressive rock. The album's opener is a solo classical guitar piece that happens to be teh exception to the rule - a very Mediterrenan feel for a piece entitled 'Peninsula'. Clear as the water of the clearest pond. Next is the namesake mini-opus, a three-part composition that has much to do with the sound that was being achieved by Weather Report and Return to Forever at the time. Musicianship is proficient and Bloch's role is noticeable among the rich instrumentation: PFM has officially become more related to Arti + mestieri than to BMS or Le Orme. I believe that the last two sections are the most accomplished ones, bearing a solid architecture to them and a bigger room for the synth input. In fact, Premoli's keyborads seem to be relegated to supporting and atmospheric roles in most parts of this album. The instrumental jams of 'Storia in "La"' and 'Meridiani' are basically showcases for Mussida's exhibitions of his liking for John McLaughlin - later on he would praise the work of Pat Metheny in interviews, so you can tell that the fusion thing is very close to his heart. It is in tracks 4, 5 and 7 that Bloch returns to a starring role: a special mention goes to the violin-percussion duet that sets the prologu section of 'Circo la Lingua'. Except for the closing track, 'Circo' is my fave track from this album: it encapsulates energy and invention in a robust fashion. 'Left- handed Theory' could have been as impressive had it enjoyed more room for a proper expansion. No complaints regarding thsi area for 'Traveler', which reveals how a repetitive harmonic idea can be used for good effect. A guitar solo in the middle and a violin solo flowing all the way until the fade-out build things up in strategic places, while an interlude partially based on a reprise of 'Peninsula' adds a momentary melodic variation. Tracks like this help the band to maintain its creative peak even though PFM was goign headlong toward a different artistic era. 3.33 stars for this one, at least from my part.