LOVE, LOVE

Known more as Herbie Hancock's trombonist during the Mwandishi-era sex- and septets, this was Julian's first release after the formal disbanding of Herbe's Septet--here released and recorded under Manfred Eicher's new ECM label, as was fellow-Mwandishi band mate Bennie Maupin's solo release of the same year, The Jewel in The Lotus. While Maupin used four of the Septet to help record his own album, Julian almost accomplished this album as a one-man solo project, playing the roles of Bass Trombone, Tenor Trombone, Trombone [Alto], Baritone Horn, Horn [Post], Flute, Cowbell, Percussion [Small], Synthesizer [Arp 2600, Prototype Arp String Synthesizer], Producer, Mixer, and Composer on all songs with only synthesizer expert Patrick Gleeson (the seventh and final addition to Herbie's Septet) and drummer Ndugu Leon Chancler from his former band.

Working under his alter ego name he used when exploring particularly "cosmic" themes: "Pepe Mtoto," here "Pepe" is definitely exploring the "cosmic music" that he found himself attracted to in the 1960s while working with Sun Ra and his Archestra but here using many new electronic devices and instruments that Pat Gleeson and the Mwandishi sessions exposed him to.

1. "Prologue/Love, Love" (19:30) an extremely engaging groove with some very Deodato-like keyboard and bass play providing the spine of the entire side long song, the overall feel does have more of a long-play Krautrock feel despite the business of the contributing musicians (particularly Cochran and Connors but also bassist McClure). The drums, percussion, and bass are incredibly solid and steady throughout, which offers the soloists very fecund ground on which to perform their psychedelic gymnastics. It feels as if all of the soloists were given plenty of room and encouragement to experiment and "go off"--even during the live recording. As a result, this is a great, eminently enjoyable, and also hypnotic song. (37/40)

2. "Images/Eternal Worlds/Epilogue" (18:24) a song that seems founded far more in more-traditional form and structure despite the rogue bass playing of Henry Franklin. In the third minute , drummer Chancler and electric pianist Todd Cochran seem to fall back into Deodato-like mode, yet are free enough to expand upon their foundational forms to express themselves with admirable abandon. Gleeson and Priester also seem to be having a creative free-for-all. Even the sax player in gets into the act in the sixth and seventh minutes. This is some cosmic ride: entropy rules! Thus it is quite unexpected when the whole band suddenly shifts in the eighth minute into a sudden shift into a low-piano chord and cymbal-guided "Love Supreme"-like motif, congealing over the next two minutes into such tightly- engaged and focused unit that their gradual, almost imperceptible transition into what feels like a high-speed Latin rumba line by the eleventh minute made me wonder (more that once) if I was still listening to the same album--or even the same band! These are obviously very serious and very skilled jazz musicians. Pianist Todd Cochran is especially impressive but so is everyone else. They are so tight! So skilled! So professional! After the first rather psychedelic song of hypnotic space funk and the chaotic opening seven minutes of this, I would never in a million years have predicted this amazingly sophisticated "big band" jazz! I love this song--immediately wanted to play it again and then left it on repeat for the whole morning! Wow! (39/40)

A/five stars; an amazingly fresh expression of the relatively new Jazz-Rock Fusion idiom: containing free-form experimentation over super-solid rhythm play, spanning the spectrum from the spacey-psychedelic to the most professional big band sound. One of the finest J-R Fuse albums of its time (with great sound thanks to Manfred Eicher and his ECM label); definitely in my Top 10 Jazz-Rock Fusion Albums of prog's "Classic Era."