ARENA

1. "Journey In Threes" (6:30) drums, funked up bass, clavinet, saxophone, and guitar open this one with a GENTLE GIANT-like circus romp, then there is a long spacious pause before the band kicks back in at 1:20, this time in a very tightly arranged nearly-Reggae weave with tenor sax in the lead and guitar doing accent strums and notes. The bass is now more straightforward (the previous sound I called a "funked up bass" may have been, in fact, the left hand on the clavinet). Clavinet gets the second solo spot but the sax comes back for the third--this time with a little more vim and vinegar. Very interesting! And danceable in a DON ELLIS way. I don't know why I like the clavinet so well! (9/10)

2. "Scope" (5:05) BRUFORD-like syncopated complex opening weave turns into a little smoother jazz at the 30-second mark with bass and drums weaving a tightly Then, at 1:45 the band stops at the stop sign, looks both ways, then takes a left turn down one of the Fender Rhodes as keyboardist Peter Jones starts flying over his plastic keys. Another stop at another stop sign at the 3:15 mark results in another change of direction--this one more straightforward as the car cruises out onto the Nevada desert where we watch it fade away into the distance. Very interesting, complex jazz-rock fusion--all of the motifs sewn together here are quite complicated. Impressive! (9/10)

3. "Duke" (3:50) a duet of moody sax and supportive lounge Fender Rhodes gives this opening a late night French Film Noire or Femme Fatale feel. Nice performance if a bit stereotypic. The guys must have been in a mood. (8.75/10)

4. "Scrichell Cat" (6:30) more music that feels like something from an old black and white film--until the three-chord rock bridges. Sax is again offered the lead role while bass, drums, Fender Rhodes, and wah-rhythm guitar provide support and accents. Oddly simplistic compared to the mind-bogglingly complex music of the opening two songs. Electric guitar finally gets a solo around the four-minute mark--it's nice! He's got a very nice tone and very flowing, technically sound run capabilities. When he pairs up with the sax in the sixth minute it works remarkably well and then they parts ways to return to the rock motif for an extended period over (beneath) which the searing ROBERT FRIPP-like guitar play continues to the very end. (8.875/10)

5. "Keith's Mood" (7:34) The angular, sometimes discordant Robert Fripp guitar sound and style starts off right from the opening note of this one while drums, bass, and saxophone play Coltrane or Ornette Coleman to the Robert. Around the two-minute mark the band takes a divergent path to explore a trash-filled alley that empties out next to the church onto main street in the form of a blues-based R&B passage. Sounds like The Isley Brothers, past (the Sixties) and future (Harvest for the World, Go For Your Guns. etc.) An extended drum solo fills the sixth minute and more sounding quite traditional jazz except for the use of a large floor tom. At the end of the eighth minute the rest of the band returns, playing some grroup scales before suddenly stopping. Interesting and impressive but not very engaging (or danceable). (13/15)

6. "The Long One" (6:32) this one sounds like early Herbie Hancock as he explored the landscapes and sonic possibilities of early funk and R&B-infused jazz-rock. Sax is the lead melody-maker but the funky bass and Fender Rhodes play a huge role in the song's overall feel. Very cool in the early-1970s meaning of the word. Fender Rhodes takes the next solo in the fourth minute while the bass, guitar, and drums do a great job of maintaining the funky base. The nuances of each instrumentalist's contributions to this song are really quite something to behold--and even study! Not my favorite song or song style but definitely praiseworthy for these incredibly mature performances. (9/10)

7. "Turkish Defunked" (7:41) Waht?! a straigt-time beat?! (Wait 20 seconds.) Oh! They were just messing with me! Back to some funk with some Eastern European/Middle Eastern sounds coming from the sax(es). When the opening mood and sound palette have been established, the sax drops out for an extended Fender Rhodes solo that sounds quite a bit like Ray Manzarek. Sax resumes the lead as Ray continues to add sass and bluesy funk around the sides. Cool song that has its feet more in jazz than R&B-rock but goes back to the Turkish theme enough to confuse us. In the sixth we finally get the return of the burning sound of Charlie (Glenn's nephew) Gould's fuzzy electric guitar, but then the band switches gears, gets more staccato rhythm-brained before finally returning to the main theme for the finale (while Charlie continues his nonstop Fripp runs from behind). High quality performances of a diversified composition. (13.5/15)

Total Time 43:42

I can see how the AVERAGE WHITE BAND inspired the world. "Cut the cake!"

B+/four stars; an excellent addition to any Jazz-Rock Fusion lover and an album that I think any and every prog lover can and would appreciate.

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