JAN HAMMER GROUP: OH,YEAH?

After "cleansing his palette" during the previous year with his prog rock space soundtrack The First Seven Days, Jan returns to the funk power fusion music which provided him with his first notoriety.

1. "Magical Dog" (6:43) opens with a bass and keybaord blues-rock chord variation before stopping to shift into something more rock and Jazz-Rock oriented within and over which violinist Steven Kindler takes as prominent a role as that of bandleader Hammer. Sophisticated--almost classical in its orientation--it's a good example of the continued exploration of the different directions that Jazz-Rock Fusion can go. I love the inclusion of "harpsichord" in the third minute as well as the sophisticated syncopation of the bass, drums and percussion work. High praise from the compositional perspective, not nearly so for the engagibility factor. (9/10)

2. "One To One" (3:32) a funky synth-dominated pop-oriented fusion song that is constructed for the exhibition of drummer Tony Smith's lead blues-rock vocal. Interesting (and unusual) weave of sounds used to form the music beneath Tony's vocal. (8.75/10)

3. "Evolve" (4:45) driving fusion rhythm lines from bassist Fernando Saunders, Steven, and Tony--as well as Jan's electric piano--over which Jan offers a Moog extravaganza. As worried as I was about Jan's "over-the-top" aggressive synth solo play, he remains wonderfully restrained and understated throughout this song. (8.875/10)

4. "Oh, Yeah?" (4:30) an unexpectedly smooth and controlled romp through a public park (when I was expecting a wild rampage across the Sahara or a four-wheelin' mudbath racing through the two-track trails of a wilderness forest). I even like the little Afro-pop reprise at the end. (8.875/10)

5. "Bamboo Forest" (5:24) opening with some heavy, ominous Mahavishnu-level chords coordinated among the quintet (which includes the conga work of David Earle Johnson). Jan's soloing after the protracted 90-second intro sees his Moog emulate the searing lead guitars of contemporary peers (like John McLaughlin). I can see why people like this one but for me it never really rises to the heights that it seemed to insinuate from its opening. (8.875/10)

6. "Twenty One" (5:05) an impressively complex weave of drums, bass, and percussion provides the background for Steve Kindler to shine--for the first half of the song! Then Jan steps up to take his turn with his signature Moog--this one a larger synth more capable of expressing both low and high end notes. The Moog-violin interplay in the fifth minute is a lot like the East-West collaboration John McLaughlin was doing with Zakir Hussain in the Shakti format. Nice exhibition of instrumental prowess! (9.125/10)

7. "Let The Children Grow" (4:50) a song that seems to be constructed to emulate the music of GENTLE GIANT--even vocal-and lyrically--until, at least, the Beatles/George Harrison-like chorus that takes over at the 2:50 mark. The song then returns to the GG form and style for the rest of the fourth minute until the band jumps back into the chorus again for the final minute. (8.875/10)

8. "Red And Orange" (6:44) a set up for some J-R Fusion jamming that somehow lacks the collective power of the Mahavishnu Orchestra/Return to Forever "traditions." It may be the lack of electric guitar but seems more attributable to the slightly weaker (quieter) rhythm section. (8.875/10)

Total Time: 41:33

Once again I find myself surprised at the gentleness and melodic sensibilities of an artist that I (mistakenly) thought was too bound to showy noodling.

B/four stars; an excellent but by-no-means rousing contribution to the lexicon of Jazz-Rock Fusion's power milieu.

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