JAZZ ROCK/FUSION

1. "Explodition" (6:34) and go! We're off to the races: with one funky, fully-loaded, Young newcomer Alphonso Johnson sure does make an impression right from the start as he essentially-leads this song, setting it's tone, pace, and sound, from the opening note to its close. (9.25/10)

2. "The Kumquat Kids" (4:30) more stanky funk with clavinet and horns filling some of the space on the sides. There must be something in the new Kool-Aid cuz I've never heard normally-straight-and-narrow Eddie Henderson play with such abandon! It's as if he's taken a page from Miles but taken it two steps further. And I'm not even talking about the inundation of multiple special effects poured over multiple instruments in the soundscape. Wow! And I mean, Wow! (9.3333/10)

3. "Sunburst" (5:46) what an opening: drums and high-octave keys support a two-bass funk attack (or perhaps one bass and one bass synthesizer but methinks it really all Alphonso). 90 seconds of this before swayrling synths and cymbal crashings provide a little spacey hesitation and reset. The next passage, built over that opening motif, whirls and spirals around Harvey Mason's drums and Alphonso's bass(es) while Eddie lets loose with some ear-piercing trumpet blasts and riffs before being sucked into the quagmire of the tar pit that is the funky cosmic mess beneath him. Julian Priester's long trombone notes in the spacious whirlpool of the final 90 seconds are quite welcome: something to anchor one's sanity to. It's just that there's so much going on: the precedent set by those expanded lineups established by Miles' Bitches Brew and then perpetuated by Herbie Hancock's Mwandishi lineup lead to so many more layers to each and every song--which is great for re-listens and the creation of thick, lush, full soundscapes like this. (9.5/10)

4. "Involuntary Bliss" (6:49) Alphonso's bass is once again given the job (and honor) of opening up another song-- establishing both pace, mood, and melody. This is simpler, slower, leaving lots of room for George Duke's keys to shine, Harvey Mason's drums to play, and a whole bunch of horn players to let their talents be "seen" and heard. While Eddie takes the first solo, playing some dreamy, long-held and reverberated notes, there are spaces for other musicians to shine: the horns as a section, George Duke on an extended MiniMoog solo, and a little Alphonso Johnson. (13.375/15)

5. "Hop Scotch" (3:52) it's as if the band had the idea of throwing themselves into the making of a big vat of NewOrleans gumbo with this one as there is a lot of funk and N.O. jazz being thrown at us--as if from multiple streams of "flavor" providers--often at the same time! Yeah, give me some of that gumbo! (9/10)

6. "Galaxy" (6:35) long-held spacey synth chords with long trumpet notes opens this for about 75 seconds before bass, drums, keys and the rest of the gang stumble in. The horn sounds being generated by Julian and Bennie are so unusual--though more like swamp insect sounds instead of radiotelescope signals. I love the presence of the marimba in this mix! Bennie Maupin is given the majority of the lead time for his saxello in the middle three minutes well the rest of the crew certainly entertain from beneath. What surprises me even more about this song is how funky it is while Alphonso does not play a funky bass! Instead he's playing an underwater bass that is far less domineering than his usual front-running funkbass. I like this song but it's not developed enough to receive high marks: it's more of a vamp showpiece for everyone to show their weirdest sounds. (8.875/10)

7. "We End in a Dream" (3:10) A long introduction that really shows little or goes nowhere takes a turn at the end of the second minute, establishing a mellow little weave through Alphonso (and Buster?), George, and Billy Hart on drums. And then it just dies. My guess is that Eddie and producer Skip Drinkwater didn't like enough of the new material Eddie's band had conjured up during the allotted paid for studio time so they resurrected something trite but satisfactory from the vaults of previous recording sessions (thus accounting for the presence of both Buster Williams and Billy Hart on this tune only). Not really a complete song, more like a two part idea being explored but never getting past its infancy. (4.375/5)

Total Time 37:16

I have the feeling that the practice and recording sessions for this album were quite limited--especially with respect to new hot-shot "star" Alphonso Johnson's availability--as there are four great funky Jazz-Rock Fusion songs (two of which are credited to Alphonso compositionally) followed by three loose, fun, highly-experimental "knock-around" songs, any one of which might not have made the final public release had there been more songs available "in the can." I can imagine that touring (and recording) with Weather Report would have been pretty demanding

A-/five stars; a minor masterpiece of funked up jazz but also like Alphonso Johnson's breakout album--despite the fact that he'd already participated in the recording of Weather Report's Mysterious Traveller as well as the world tour that followed, as well as the recording sessions of their followup album, Tale Spinnin', which was recorded and released at nearly the same time as Sunburst. Those first five songs are so creative, so alive and entertaining, that I cannot recommend this album more highly.

1. "Children Of Forever" (10:42) an odd song that sounds part Broadway musical part gospel song. Despite some odd quirks and descrepencies in the sound quality and mix levels, many of the idiosyncratic trademark riffs and tricks of both Chick and Stanley are on full display in this song--trademarks that will become much more refined and as the varieties in sound-treatments and instrumental choices increase over the next few years. The real weakness of this odd, odd song is in the weird vocals (and lyrics): they sound as if they are coming straight off of a stage of a production like Pippin, Hair, or Godspell.only a much lower grade/quality play. (17.375/20)

2. "Unexpected Days" (5:53) despite the same quality of sound engineering for the vocalists and instrumentalists, the switch to lone vocal leadership of Dee Dee Bridgewater is more palatable (I guess I'm finding Andy Bey's stiff and formal vocals to be too contrasting to those of the gorgeous and souluful Ms. Bridgewater. The music and instrumental passages on this one are much better--far more engaging and more-fully sculpted--on this song than on its predecessor--the contributions of Arthur Webb's flute and the electric piano, in particular, adding a lot of serene accessibility. (8.875/10)

3. "Bass Folk Song" (Clarke) (7:59) feeding an acoustic double bass through a wah-wah pedal is an interesting experiment. This song is credited to Stanley but it sure exudes all of the Latin qualities of a Chick Corea song. The pairing up of the flute with Chick's electric piano to present the dominant melodies is nice, but the motif used beneath the frenzied instrumental noodling of the song's middle and final sections becomes a little tedious to the point of creating anxiety. Too many notes! (13.125/15)

4. "Butterfly Dreams" (6:52) a very nice traditional jazz tune with vocals. Here, on his own, with this kind of jazz music behind him, Andy Bey sounds awesome: kind of like the great Joe Williams or even. Nice jazz guitar solo in the first instrumental passage between vocals. The integrating comaraderie between Chick's piano, Stanley's double bass, and Lenny's jazz drumming is quite noticeable, quite comforting, and definitely magical. This is definitely my favorite song on the album (despite it being the least fusionistic of them all). (14.25/15)

5. "Sea Journey" (16:26) gentle BOB JAMES-like music to support the GAYLE MORAN-like vocal performance of Dee Dee Bridgewater, the opening motif definitely previews many of Chick's Jazz-Rock Fusion albums like The Mad Hatter, Musicmagic, and even a little of Romantic Warrior. especially when he and Lenny take off in the fourth minute with the galloping motif that supports Chick's Fender Rhodes solo play. Finally, Lenny gets a little of the spotlight! (I've got to keep reminding myself that this is officially a Stanley Clarke album, not a Chick Corea or RTF album.) At 6:07 we return to the previous smooth motif where Andy Bey gets to take his turn in the lead. He does his androgynous best to sound like Dee Dee (though a bit more like Nina Simone, Chaka Khan or Gayle Moran). At the eight-minute mark Stanley steps in front of the still-wailing Andy with his bowed wah-wah-effected bass fiddle. The ensuing solo is so RTF: so vintage Chick and Stanley! At the ten-minute mark Stanley steps back into his background bass role as guitarist Pat Martino steps up with his jazz guitar to solo while Chick and Lenny offer their off-setting accents and flourishes. At the end of the twelfth minute Arthur Webb and Chick's right handed Fender Rhodes re-introduce the opening melody, allowing Pat to finish while re-establishing the more cushiony fabric for Dee Dee to return to the front--this time singing with more of her own soulful jazz style than that of the future Mrs. Corea (i.e., Gayle Moran). Andy and Stanley really take off beneath Dee Dee's scatting vocalese in the fifteenth and sixteenth minutes as Chick's electric piano continues to express side notes, riffs, and alternate chords right up to the song's end. I love this one! Definitely another favorite. (27/30)

Total time 47:52

This album definitely proposes three observations regarding the progression of Chick Corea, Stanley Clarke, and Lenny White's induction into the fairly new, experimental world of Jazz-Rock Fusion: 1) they are not yet fully committed (they remain somewhat-stubbornly loyal to many of jazz's "sacred" tenets), 2) they are not yet certain or clear on exactly what defines Jazz-Rock Fusion, and 3) they have been slow to jump on the bandwagon of the latest and greatest advances in technology available to both musicians of their specific specialties but also to the members of the sound engineering room.

B+/4.5 stars; an inconsistent though future-illuminating exploration into First Wave Jazz-Rock Fusion that earns near- masterpiece status. Chick is definitely flying at Jonathan Livingston Seagull speeds while his young protégés are learning, working hard to try to catch up.

1. "Shoes (Boty)" (9:57) borrowing a profusion of themes from bands like Pink Floyd, Led Zeppelin, Thin Lizzy, Derek And The Dominoes, George Harrison, Tangerine Dream, Can, and Nektar, M. Efekt's obvious effort to please their crowd of listeners with such a series of appropriated mock-ups reminds me of the scene in Philip Kaufman's 1989 film adaptation of Milan Kundera's international best-seller, The Unbearable Lightness of Being in which Tomaz and Tereza are in a bar with their friends while a local rock band plays "edgy" rock music and especially their risky in-the-face-of- authority Czech rendering of The Beatles "Let It Be"--only these guys are more talented, versatile, and infinitely more creative than that band. The alternate version of David Gilmour's "Great Gig in the Sky"--with Jiří Stivín's wonderful flute play--is my favorite motif explored in the suite. (17.75/20)

2. "Tea-Room (Čajovna)" (4:01) nice, fully expanded power blues-rock trio music in which Radim Hladík occupies not one, not two, not three, but four tracks for his various electric guitar riffs, sounds, and fills. Interesting and entertaining even if it feels more like a vehicle created explicitly for Radim's study of a particular form and melody. (8.875/10)

3. "Jigsaw Puzzle (Skládanka)" (5:49) Jazz Q flutist Jiří Stivín is quite prominent on this composition: using a near Thijs van Leer style. As a matter of fact, the whole song bears a remarkable similarity to both FOCUS and YES songs and stylings--as if the two have been merged together. Add the crazed wordless "speaking in tongues" vocals in third minute followed by some rapid-speed electric guitar soloing (though by no means in the same league as Jan Akkerman or Steve Howe) and you've completed the checklist for Focus Clone. I might give this higher marks were the rhythm track not so chaffingly irritating. (8.875/10) 4. "Lost-And-Found (Ztráty a nálezy)" (5:12) delicately picked acoustic guitars, swelling percussion, flute, and organ start this one off until the band falls into the groove of a blues-rock song in order to offer up a spacious, womb-like place of supportive bluesy-rock drum, bass, and acoustic rhythm guitars for Radim to take an extended solo, expressing himself as if he were channeling or Eric Clapton, while Josef Kůstka dances with him on his electric violin. At 1:45 the band falls into a nice PROCOL HARUM "Whiter Shade of Pale" groove that supports an emotion-laden echo- and-reverbed electric guitar solo from Radim (the Clapton style still dominating his expression). This continues to the song's final minute when the band is (rough) cut back to the acoustic guitar strumming with squealing guitar and violin motif of the opening minute. (8.875/10) 5. "Hypertension (Hypertenze)" (12:30) Jimmy Page. Jimi Hendrix. Jan Akkerman. Eric Clapton. These are some of the guitarists and guitar styles I hear when listening to the fiery noodling of Radim during the opening two minutes of this. Martin Kratochvíl gets the next spotlight before Radim and Jiří Stivín on alto sax begin a section in which they trade off ten-second outbursts in a three-way duel, each shifting from a variety of sound effects for their respective instruments with each and every turn while the bass, drums, and rhythm guitars pulse and sway with a wildly-pulsating rhythm track that reminds me of that which will be TALKING HEADS' foundation for their classic African-based songs from Side One--especially "Crosseyed and Painless" and "The Great Curve." The crazy, cat-yawling solo opposite Radim's excellent rhythm guitar work could be either a synthesizer, a heavily-treated violin (or electric guitar), or even, perhaps, a crazily-treated saxophone, I don't know which, but it's effective as hell! The music slows down in the first half of the sixth minute as Radim takes up several tracks as he solos variations on a single riffs back and forth between his own guitars with Martin, Josef, and Vldo holding space for him from beneath. In the eighth minute Radim's volume pedaled guitar notes slowly back off as bassist Josef Kůstka is given solo support from Martin and Vlado Then, at the very end of the tenth minute, we come out of that section with some heavy riffing and "distant" space-synth portamento in the background. Radim shreds and rages until a choir of wordless vocalese steps in to establish a melody line that will take us out. Though Radim is there, it is Jiří's alto sax that is given the main spotlight here and he simply tears it up--even emerging on a second (and/or third?) track toward the very end--as the vocalese- supported main theme plays on till the very end. The very cool elements of this song far outweigh its defects. (23/25)

Total Time 37:29

While I appreciate the talent and creative appropriation and synthesis involved in the making of this album, I do not particularly like my J-R Fusion or Prog Rock to be founded in blues structures nor blues-rock sound. Also, for as talented as Radim is as a guitarist, he seems to be "stuck" within a set number of sounds and styles--most of which are not among those I favor or particularly enjoy.

B/four stars; an ingeniously-crafted collection of songs representing several blues-rock styles found in the music of the early progressive rock artists and musicians.

1. "Clear Hours" (2:32) great upbeat jazz rock fusion with a light funk to it (not unlike some of COS' music from this time--the Viva Boma era). The use of bright, cheerful flute in the mix is delightful--as is the wonderful (9/10)

2. "Valse De La Mort" (16:14) opening with a very serious, slow-paced almost classical pastiche with flutist Dirk Bogaert leading the way over piano, classically-played acoustic guitar, and bass--no drums. In the fourth minute the music even moves more into the domain of classical sounding music as Bogaert and pianist Charles Loos duet--eventually becoming a more sonata form for Loos' dynamic solo piano until 5:22 when Charles hands it over to Dirk: solo flute time. Hi-hat, and metronomic bass drum and rim shots enter near the end of the seventh minute supporting Dirk while he finishes his solo. At 7:49 deep thrum of electric bass and electronic keyboard enter, setting up a kind of dreamy yet-suggestive carpet for guitarist Paul Elias to start up some electric guitar soloing. In the tenth minute the band really explodes beneath Paul's fiery guitar playing as the drummer bursts into full kit exposition. A return to soft carpet mode for a bit while electric piano solos, exploding again for Charles to switch to a Moog-like synth for some soloing, but then everybody re-gels into a softer, gentler motif as they return to acoustic instruments (except for Jean- Paul's electric bass). Flute and piano dance around one another for several minutes while the guitar and toms sit out (thought nuanced cymbal play remains in full participation). Charles takes over again for a piano solo in the 14th and 15th minutes while flute-like organ chords support from beneath. A whole band acoustic bridge at 14:45 moves into a brief transitional series of chaotic jazz chords before the band comes out the other side with a nice little two-chord HATFIELD AND THE NORTH funky motif and palette--which they then use to take the song to its end. I'm not sure how the composer came up with the progression of all of these very different (and seemingly unrelated) motifs for the movements of this suite but it all seems to work--and they're all rather expertly, even adroitly, convincingly, transitioned from one to the next. The composition and performances are all top notch. The song, however, does not contain enough catchy melodies or hypnotic grooves to earn my top marks. (27/30) 3. "Sweetank" (4:26) using a rather unusual combination of upper and lower register electric funky bass, wah-wahed distorted electric piano to fill the middle ground of the rhythm track, and funk drumming with electric guitar, flute, and some electric piano and Moog synthesizer sounds to fill the lead positions, this is a catchy tune with a great chord progression to push and pull all of the odd sounds together. Nice blues-jazz guitar work from Paul Elias. There's even time for a solo from virtuoso bassist Jean-Paul Musette--here paired up perfectly with an astute drummer (which one?). The final minute of flying Jazz-Rock is sublime for its seamless flow of three different motifs. (9.3333/10)

4. "Billy The Keith" (3:54) either the flute is being fed through a sound effect processor or Charles Loos' keyboard combination is replicating a wobbly flute sound (probably the former as Charles other sounds seem to occupy a lot of hands--or tracks). The song is a bit too subdued for my tastes though I comprehend the difficulty it is to play all of the tracks of this subtly-nuanced weave while maintaining some semblance of cohesion. (8.75/10)

5. "Jeronimo" (1:58) a quick exploration of a particular set of melody ideas that seems to inspire the whole band into solidarity and high-discipline. (4.5/5)

6. "Bolle Winkel" (6:46) a more theatric composition that reminds me of some of the great music from A Chorus Line though the drumming sounds very Billy Cobham-like. The second minute sees the band take a left turn down a high speed lane in which many of the band members can be seen to be hanging out their privvy clothes on the laundry lines above. An odd, almost crazy cacophonous choice of instrumental sounds and ejaculations ensues until Jean- Paul's breathy flute screams its way to the front in the fourth minute, inciting a riotous response from the bass, wah- wah-ed guitar, and electric keys. At 4:45 everybody but the drums and bass cut out for a rather dynamic (and great!) bluesy pseudo-classical Bob James-like piano solo--which almost takes us to the end. This is a song that kept getting better and better the further it went along. (13.5/15)

7. "Arhumba" (1:42) moving back into the near-classical realm of jazz music, this piece sounds like something transposed from a Django-Grappelli duet. (4.375/5)

Total time: 37:34

B+/4.5 stars; a near-masterpiece of Jazz-Rock Fusion exhibiting some very highly-skilled musicianship and composition. Were this album longer--to have included but one more full-length composition--it may have earned masterpiece status.

1. "Cyclone" (3:54) It takes a weird, slow-starting 90-seconds for this one to establish itself but we get it: this is a drummer's album. Nice band cohesion on this PASSPORT-like tune--with a fair amount of complexity and sophistication--and a lot more funk--than I was expecting! Kudos for Volker Kriegel for being able to adapt to and keep up with Curt's drumming (and his ideas). (8.75/10)

2. "From the Back" (4:30) the first of several very mathematically-organized funk songs comes across as a great exercise in individual discipline and whole-band cohesion. (8.875/10)

3. "Fields" (3:46) another tough song for musicians to perform smoothly despite its smooth and melodic guise: this is a tough song for individual musicians to toe the line to (as I hear mistakes from both Dave King and Volker Kriegel happening beneath Ack Van Rooyen's flugelhorn solo). Curt does manage to offer something with some beauty and serenity despite demanding so much of his musicians. (Maybe they all are having a blast playing these "études"?) (9.375/10)

4. "Shuffle On Out" (5:53) built around a blues bass line that Curt jazzifies with some key changes and subtle tempo shifts, giving Volker Kriegel two tracks to provide the lead over the top can be dangerous since he can fly, dance, and take it away, all without you suspecting that you've been hijacked. Interesting keyboard "takeover" in the fourth minute after Kristian's clavinet solo: he re-introduces the bass line before Dave King! Not my favorite song (or style/sound palette) but great work from Curt and the band to just be able to hold it together! (8.75/10)

5. "Delphine" (3:27) mathematical jazz-funk fusion. This is what one might expect from a drummer. And yet there are concerted efforts to present WEATHER REPORT-like melodies. One of the things I notice on this song was the nice combination of drums and percussion given by Curt. (8.875/10)

6. "'451271'" (3:35) another very mathematical arrangement that sounds as if the OHIO PLAYERS were getting into exploring complex time signatures and composed this song as a practice/learning tool. It's actually a pretty cool puzzle Curt has given his players. (8.875/10)

7. "No Answer" (3:46) slowed way down, exploring space in a Soul/R&B kind of way--like something KOOL & THE GANG or BOB JAMES might have done. Once again, when looked at from the perspective of getting good at solving mathematical problems, this one really works! Plus the added discipline needed to perform this flawlessly would be intense! (8.875/10)

8. "Movin' Right Along" (2:45) a funk jam the band must have been grooving to is here salvaged with a long fade in. Interesting construct with its rotating themes being injected by the various instruments while Dave King and Curt keep their heads down and focused. (8.875/10)

9. "Funk Off" (4:59) less funk and more WAR "Low Rider"-like rhythm and simple melody-making than I expected from that title! Interesting end to a very interesting album! (8.75/10)

Total Time 36:35

I have to admit that the music on CCC is far funkier than I would have ever expected from European white boys! There is a goodly amount of funk and syncopation but an odd lack of sophistication, a lack of "full" development on many of the songs. It's almost as if Curt contrived most of these rhythmically-challenging songs as a kind of test to his hired guns--as if confronting them with the task of successfully pulling off "competent" performances without embarrassing themselves. This makes me wonder how much tension the musicians felt during these studio practice and recording sessions; I can imagine a lot!

B+/4.5 stars; a strong display of whole band commitment to some challenging ideas and compositions--a near- masterpiece of funky Jazz-Rock Fusion. For the most part, I think they come through fairly shining. What might suffer a bit is the feeling of a lack of complete or "full" development on many of the song/études.

1. "Lungs" (12:08) organ and electric guitar trading incandescent flares for solos over some equally-stunning drum play. In the fourth minute, just as the two melody-makers start to really duel, the music slows down, spreads out, leaving a lot of space for some spacey organ and volume-controlled and echoed electric guitar note play while Jack gives a virtual clinic in cymbal and bass drum play which turns into a tom-tom and snare clinic as well. This is easily as powerful and virtuosic as anything the Mahavishnu Orchestra ever produced. At the beginning of the eighth minute the band resets and restarts with some kind of low-bass note play (from Jan Hammer, of course) providing a kind of funky rhythmic propulsion for Jan, John, and Jack to slowly, very deliberately, start contributing notes, riffs, and other idiosyncratic flourishes and musical catchphrases from here to the song's end. What this has to do with lungs, I'm not sure. (22.5/25)

2. "Love Song" (4:34) Jan Hammer's piano and John Abercrombie's acoustic guitar are here recorded performing a beautiful duet. These guys really hear each other--which is why this lovely conversation sounds so respectful and co- ordinated--like a dance--and not unlike something Chick Corea and Al Di Meola might have done together. (9.75/10)

3. "Ralph's Piano Waltz" (5:21) a more typical jazz swing with a great melody "hook" This is a John Abercrombie composition that became one of his signature songs--one that he re-recorded on several other studio albums and, of course, performed live with many of his bands--and I wouldn't understand anyone who wouldn't be able to "see" why. Great performance by John with awesome support from Jan's organ play and Jack's stunning drum play. Though I have great trouble thinking of Jack DeJohnette as a "fusion" drummer, he is definitely on the short list of the best jazz drummers I've ever heard (probably #1): his creativity is a marvel to behold. (9.375/10)

4. "Red In Orange" (5:21) a furious syncopated opening sounds like it could come from both EMERSON, LAKE AND PALMER or the MAHAVISHNU ORCHESTRA though the jazz guitar play ends up sounding more like JOHN TROPEA or ERIC GALE during the early section, the Larry Coryell in the fiery second section, and then like John McLaughlin in the photon-speed final minute. Jan Hammer's dynamic organ play sounds like LARRY YOUNG (Khalid Yasin)--especially when in support mode--but then he fires up some amazing Keith Emerson-like stuff in his duels with John--and Jack is right there with them the whole way! (9.625/10)

5. "Remembering" (4:32) back to piano and acoustic guitar dueting, this one meandering a little more like something from the Americana or Chick Corea school of austere acoustic or atmospheric duet music. Despite the flourishes of virtuosity, the key and tempo changes are met with ease with both musicians delivering gorgeous melodies and variations on those melodies throughout. Both musicians are showing their masterful ability to bring the listener back to the security of "home" by positing the occasional, perfectly-timed, dominant "comfort" chord. (Thank you!) There is, however, something very warm and humane about this song--this style of duet music--that feels more inviting and engaging--more personable--than the "competitive" duets that Al Di Meola became known for. (9.25/10)

6. "Timeless" (11:57) ominous low-end synth chord provides the steady foundation for John to noodle around improvisationally using a very gentle, soft tone on his electric guitar. I love this kind of electric guitar performance where volume and dynamic take a backseat to heart-felt feeling and sensitivity. In the fifth minute there is a transition into a section in which Jan sets forth a patterned bass line over which John plays off of with equally-interesting, beautiful fluidity and melodic sense. Jack joins the puff parade with his brushes, rarely beating anything dynamic, instead keeping to the same delicate sensibilities as his band mates. Jan is allowed to jump in a couple of times with his MiniMoog and the song never really changes or shifts or deepens again, just plays out with this same bass-line-led motif to the end. A nice exhibition of a certain kind of solo improvisational music but not a really engaging or deeply interesting song from a listener's standpoint. (22/25)

Total Time: 43:53

Jan Hammer has always come across as a much weaker keyboard player in my mind due to the fact that I've seen and heard mostly his performances where he is playing on either his stage "keytars" or dueling with guitarists and/or violins by using the right-hand upper registers of his computers, thus, I never thought the guy had a left hand. On several albums from the 1970s that I've stumbled across over the past couple of years I've been impressed to hear Jan Hammer as a more "complete" keyboard player: playing piano, organs, Fender Rhodes, Moogs, and, as here, lots of bass as a substitute for the more typical upright or electric bass player.

A-/five stars; a minor masterpiece of fringy jazz-rock fusion from three of Jazz-Rock Fusion's all-stars (two of which are lesser known). An album that I highly recommend to any prog lover who love it when virtuosic musicians can meld together really well.

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.

Steve Hackett is the man behind the greatest Genesis records, known for their brilliant solos and his beautiful, atmospheric guitars. His solo career is truly amazing, with records that rank among the best of all time, such as Voyage of the Acolyte and Spectral Mornings.

Talking about him in a place like this may seem redundant or even irrelevant, but it's good to clarify certain aspects: Steve Hackett's career practically stagnated after the 1980 album Defector. After that, he released very little?or almost nothing?until the mid-'90s, when he began to squeeze the juice out of his work with Genesis. Those amazing reworkings took him to the Olympus of music, resurrecting his career. His quality as a composer is undeniable, and his guitar playing is truly exceptional. Along with Steve Howe and Robert Fripp, Hackett is one of the most creative guitarists of the golden age of progressive music and a pioneer of a unique sound and style.

Hackett has always leaned toward experimentation and innovation, so his latest work with DJABE comes as no surprise.

DJABE is a Hungarian jazz-fusion band formed in 1995 by bass guitarist Tamás Barabás and composer/percussionist Attila Égerházi. Their music blends jazz, progressive rock, and world music, often featuring complex rhythms, rich melodies, and atmospheric soundscapes. The band's name, DJABE, comes from an African Ashanti word meaning "freedom." Over the years, DJABE has worked with several notable musicians.

Freya Arctic Jam: This album is beautiful?a musical odyssey through landscapes and moments that unfold with each chord, with each sound. Now, if we consider it prog, it has elements here and there, but not much. It's like a Hackett album, except this time he has donned a costume and transformed into Pat Metheny. DJABE, for their part, doesn't sound like DJABE either. Despite being an exceptional album, it feels like an indulgent exercise in late '80s jazz fusion.

This is not the first collaboration between these two musicians, but it is the one where Steve Hackett is least noticeable and, as I said before, he shifts roles.

Personally, I think this album, beyond its intrinsic beauty, loses strength as the minutes pass. Despite being extraordinary, it becomes stagnant and weak at times. However, whenever it falls into those gaps, the music flows again?like an iceberg slowly beginning to liquefy.

But, this album has its own thing. It's not exactly a masterpiece, but it's a fusion album with Steve Hackett playing; that's as progressive as it gets. But as a jazz fusion album, it's extraordinary, very much in the Pat Metheny vein, but with that European taste. A great show for lovers of good music.

BELEDO has been releasing music since the eighties. He started out playing the piano before switching to the guitar. On this record he's playing electric piano, synths, violin, accordion, fretless bass, and adds some vocal melodies. Besides his electric guitar, he adds spanish guitar and an archtop guitar. And he is an Allan Holdsworth disciple. In the liner notes he makes sure one of the pictures shows the Allan Holdsworth website on his back. Plus he thanks "the one and the only and the inimitable Allan Holdsworth, for his constant inspiration." He thanks Adam Holzman, but it's funny the thanks to John McGuire for letting him steal the chord shape that he in turn stole from Allan Holdsworth.

So we have some players on this one. It was released in 2016 and features Gary Husband on drums. I was thinking that Gary would be more into playing the keyboards as he gets older, but nope. John Marshall was playing at 80, so there's that. It's interesting that nine of the ten tracks are played by a trio. Different trios, but the main one is Beledo, Husband and Lincoln Goines on bass. That is the lineup on six songs. We get Tony Steele playing bass on a couple of tracks, plus drummer Doron Lev on a couple of tunes. Dewa Budjana guests on one track called "Budjanaji" which is the only non- trio track. We get a five piece with a couple of percussionists instead of a drummer.

This isn't really my cup of coffee, but it's close. I have nothing but respect for the music and the performers. It gets a little clinical for my tastes, especially the first half of this 55 minute recording. But for me the joy was just focus on one instrument for a while, especially on the songs I wasn't totally into. These guys are such pros. So maybe it shouldn't be a surprise that my top three songs are all on the second half. I just feel they come out of their shells more, put on a bit of a show instead of staying within themselves, that Jazz mentallity.

And that starts with "Big Brother Calling" where the depth of sound is noticeable, in fact it all sounds so good. Check out the guitar before 2 minutes, that must be the archtop guitar, a different sound for sure. "Mercury In Retrograde" is the next song and my next top three. Same lineup(Beledo/ Goines/ Husband) and sound as the previous number. Husband is quite active on this one and I feel the bass stands out more too. Nice guitar solo after 1 1/2 minutes. The closer "Front Porch Pine" is my final top three. Tony Steele digs deep here on bass. Check him out before 2 1/2 minutes, but throughout I might add. This one has Lev on drums. A worthy closer and we get more fire from this lineup.

This isn't all gravy as I'm not big on the track with the spanish guitar, or the longest piece "Marilyn's Escapade" where we get some accordion and lots of piano. The opener is really good with some violin which is a nice touch. Not big on "Silent Assessment". It's pretty mellow. The Budjani track and the opener could expand this to a top five. Budjani's tune is the most interesting track but not in my to three.

A really nice album that is all about quality and class.

Brand X released four studio albums in the 70's. Their debut studio album "Unorthodox Behaviour" was released in 1976. Their debut live album "Livestock" and their second studio album "Moroccan Roll" were both released in 1977. Their third studio album "Masques" was released in 1978. Their fourth studio album "Product" was released in 1979.

Brand X is a British progressive rock band that was founded in London in 1975. Brand X was a jazz fusion band that was active between 1975 and 1980 and that had a hiatus from 1980 to 1992. The band was disbanded in 1999 and was reformed in 2016. Brand X was formed by Genesis' drummer Phil Collins and the Atomic Rooster's guitarist John Goodsall as a side project from their regular bands. Their initial line up also included keyboardist Robin Lumley and bassist Percy Jones. The band was lucky to have signed a recording contract with Island Records. As I said, Brand X's debut studio album, "Unorthodox Behaviour", was released in 1976 and their debut live album, "Livestock" and their second studio one "Moroccan Roll", were released in the following year. After that, Collins left Brand X to can concentrate on Genesis. For their third studio work "Masques" that was released in 1978, Phil was replaced by the Al Di Meola drummer Chuck Burgi, as well as the additional keyboardist Peter Robinson, who had played with Stanley Clarke.

So, "Masques" is the third studio album of Brand X that was released in 1978. The line up on the album is John Goodsall (guitar), Peter Robinson (keyboards), Percy Jones (bass), Chuck Burgi (drums) and Morris Pert (percussion and Fender piano).

"Masques" was released with the regular line up of the band with Goodsall, Jones, Lumley and Pert despite Lumley left for the producer's chair, and Robinson have replaced him. But, Phil Collins wasn't there for the first time. Burgi sat on the drums for replace him. Basically, I would say it's less important whether Collins was there or not. The pillars of the sound were, in my opinion, above all Jones and Goodsall. Pert also featured prominently on the album. Even without Collins, the band offered perfectly recorded jazz fusion, as always with light progressive parts. Some pieces gain an additional individual touch through the percussive inserts by Pert, including xylophone inserts. Most of the pieces convey, not least through the fragile synth sounds, the genre typical fusion light heartedness. Thus, we can say that "Masques" mainly contains not particularly original, but first class fusion music that is on par with their first previous albums in terms of memorable melodies and superlative playing. As a whole, "Masques" stays as a firm studio album.

"Masques" has seven tracks. "The Poke" opens the album with a memorable motive with its great blend of jazz breaks and progressive keyboard sounds. It's a rocking number with guitar parts mostly in unison with the synthesizers. It shows that Brand X could also act with some spirit. The title track "Masques" is a pastoral piece that is dominated by the bass. It retains the atmospheric and Eastern feel of their last two previous works. It features Jones' brilliant bass playing as is usual by him. I think that Percy was always the heart and soul of Brand X. "Black Moon" is a delicate piece with a catchy mid paced tune. It's a foray into the smooth jazz that stands out with its massive relaxing energy. This is a lovely piece, a great find for any Latin jazz lover, really. "Deadly Nightshade" is the longest piece with its more than ten minutes. It has a middle section with committed guitar solos and shrill keyboard sounds as well as a slightly bombastic progressive like ending. This is another foray on the album into the Latin fusion. "Earth Dance" has a funky Latin feel and some interesting progressive gimmicks. It has an amazing musical interplay of all the instruments used due to the excellent keyboard, drum, bass and percussion works. "Access To Data" has some nice instrumental complexity that also exudes a lot of Latin feeling. It's a joy to listen to. It's a very light song, another fine tune with some clear highlights in Goodsall's guitar solo passages and some enjoyable sequences. "The Ghost Of Mayfield Lodge" has a great tune that evolves through its many and multiple music parts. It's a well done mix of jazz fusion and progressive rock music. It represents one of the best moments on the album with its percussion, synths and bass guitar parts. It's a nice closer.

Conclusion: Compared to the two previous first albums of the band, probably due to the absence of Collins, you get the feeling that the band is more focused on the song than just instrumental parts. As a result, it seems more clearly structured, in addition to the often somewhat noncommittal, light West Coast like sounds. The liquid bass lines, percolating percussion, spacey synthesizers, fiery guitar work and forceful drumming create truly an exotic musical landscape that represents what's best about the progressive fusion from the 70's. So, "Masques" is a firm studio album that will keep listeners fascinated with the band. Definitely, it's one of many high water marks in the 70's jazz fusion style. In its own way, "Masques" turned out to be a great album, which I can see on par with their first two studio works.

Prog is my Ferrari. Jem Godfrey (Frost*)