KORNET

Sweden has produced a fair amount of fusion acts through the times, but for some reason these never managed to punch through to the audience they deserved. The fact of the matter is, that we up here in the cold north actually have a long-standing jazz tradition going back to the days after W.W. 2, where countless of black jazz musicians called either Denmark or Sweden their home. Racism was still in its pyjamas up here, and people just saw them the same way they saw the American soldier: Like a hero. Others saw these incredible jazz men for what they were, and were therefore also happy as fish to see them play in their local beat club on a day to day basis. This is why Scandinavia saw a booming increase in white musicians all through the 60s and 70s - all of them wanting to play like Ben Webster or Sonny Rollins. Well some of them developed a fancy for the fusion part of jazz, incredibly warm to the idea that Miles had introduced towards the end of the 60s - melting rock and jazz together in one big pan.

Kornet (The Seed) were one of these bands who took the advice of Miles, although this outing is as far away from Bitches Brew as Celine Dion is to Neurosis. This self titled debut is extremely focused on melodies and smooth textures. Its wonderful usage of the electric piano for example is just heaven, and although this forum may not be the biggest fan of Stevie Wonder - I'll still recommend all you fans to have a closer listen to this keys man. I hear distinct similarities between him and Mr. Wonder - in fact I'll go as far as to say, that had he not chosen to go down the funk n pop road, this album offers a very good guess as to how Wonder would have sounded. There's some funk to this record as well, meaning you can dance to the thing, and before I scare the rest of you guys away, then let me say that all the instrumental wizardry within this bugger more than makes up for this fault of its. The funk is in the rhythm guitar, the bouncy booming bass and the tight drum work that propel this venture forward like a regular steam engine. Upon this funkadelic foundation you get esoteric raw piano runs, vibraphone, xylophone, French horn, the Stevie Wonder keys, saxophone, flute, bassoon, electric guitar songs making out with flying synthesizers and the odd cello. This music always has purpose - there's no jams for the sake of jams. -Not to these ears at least. Everything runs smoothly on the sonic train tracks, without getting long winded or obscure. Sure there's a bit of room, if the flute wants to play its piece slightly different than what it's used to, but the overall picture of a well-trained poodle still stands.

One of my favourite things about this album is the way the xylophones and marimbas are put to use. Just like with Zappa, these runs happen during distinct turnovers in the music - highlighting the given moment in sheer percussive bliss. That's what I love about these sort of instruments, because even if they are rhythmic objects, they still have pitch and a certain persona to them as well. Nothing sounds like them, which is what makes them so interesting, when they're put to good use - just like on here. They spice up the rest of the music with something unique.

The feel of the whole thing almost radiates warmth and welcoming salutes - opening up in your ears with delicate, smooth melody laden jazz rock that will have you smiling at the world in no time. This is fusion for the people who don't necessarily go for fusion. It has that aura about it, and that is probably why I tend to reach for it, whenever Miles and Herbie are a bit too wild and frantic for me. 3.5 stars.

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