MAJESTY MUSIC

An album that was recorded at Todd Rundgren and Moogy Klingman's "Secret Sound Studio," produced by Miroslav, and released by Arista Records in 1976, quite possibly in November. This was Miroslav's first record made with Arista and perhaps his first encounters with--or, at least, use of, the MiniMoog (via Todd & Moogy's in-studio equipment).

A1. "X Rated" (3:25) a catchy funk-jazz tune with some great musicianship--with the surprise inclusion of the Urszula Dudziak-like wordless vocalese coming from Israeli-born vocalist/keyboardist Rimona Francis. A great, solid song with some wonderful surprises (besides the delightful female vocalese): Lenny White's smooth yet syncopated drumming, Miroslav's funky, soloing electric bass play, the predominance of so many synth sounds, and the smooth yet not annoying sax play of Jaroslav Jakubovic. Yeah, it's Disco, but at least it's interesting--and progressive. (8.875/10) A2. "See You, November" (3:25) a gentle pop-jazz tune with wonderful conga-based music (great work from percussionist David Earl Johnson) and Jaroslav's breathy sax (double tracked--or chorused) played over some pretty extraordinary Latin Jazz bass playing and innovative synthesizer stylings from Kenny Bichel. Not only is it a mesmerizingly soothing, beautiful song, but Miroslav's bass playing is really something to behold. (9.75/10)

A3. "Majesty Music" (4:35) an edgier song that is dedicated to the late, great Duke Ellington (who passed on May 24 of 1974), this one veers more toward jazz and free jazz that has everybody kind of flying around like loose canons despite the fairly solid groove being laid down from Rimona Francis's droning string synth and Gerry Brown's (poorly recorded) drumming. Miroslav and Jaroslav seem to be having the time of their lives. Great musicianship doesn't automatically make for a great, listener friendly song--especially when there are deficiencies in the sound engineering department. (8.875/10)

A4. "New Orleans" (3:20) funky bass--coming from two different bass players, both playing at the same time! and Lenny White's wonderfully smooth and easy drumming supporting more wordless "vocalese" coming from not only Rimona but Miroslav's MiniMoog and Jaroslav's "distant" sax. Miroslav's work on heavily-effected super-funky clavinet and Fender Rhodes are also extraordinary. (9/10)

A5. "Do You, Don't You, Won't You" (3:00) a fun, disco-driving funk song that sounds like something straight out of a contemporary Michal Urbaniak album. Bowed bass, electric bass, layers of synthesizers (including bass notes/chords?), Lenny White's disco drumming, Jaroslav's three different saxophones and flute, all serve to make for a light and freeing little dance tune. The ABBA-like ending is a bit weird. (8.875/10)

B1. "Best Friends" (4:10) high-speed guitar and double bass (both coming from Miroslav) with sensitive and highly- skilled and amazingly-nuanced drums from Gerry Brown, fast-playing congas from David Earl Johnson, while Jaroslav screams out with his tenor sax as if he's some kind of John Coltrane or Pharoah Sanders. Interestingly, the song kind of smooths out--especially with regard to Jaroslav's sax play--for the final 45-seconds. Wow! Let's hear that again! Not necessarily a favorite but such an impressive display of skills and interplay! And it just keeps getting better with each listen! (9.375/10)

B2. "Streams And Fields" (3:04) two tracks of congas from David Earl Johnson with synth and bowed electric bass, Vangelis-like synth strings chord-washes, synth bass, and English boys choir-like vocalese from Rimona, and, later, sax from Jaroslav, this is really a carpeted interlude for Miroslav to play with his electronic effects on his bowed bass. But it is pretty cool! My favorite part is actually Rimona's almost-worded vocalese at the end. (8.875/10)

B3. "Folks" (4:40) Miroslav's pensive electric piano is soon joined by Jaroslav's "Funny Valentine" melody from his alto sax as Miroslav adds some synth strings and, finally, some double bass. But that's just the intro: at 1:20 piano and drums (courtesy of Bobby Goldman) and congas establish a comfortably-paced convertible-cruisin' groove within which the piano and Rimona's uncredited vocalese present melodies before Jaroslav's delay/echoed alto sax enters to finish off the radio-friendly smooth groove. Nice tune. (8.875/10)

B4. "Mount Shasta (Part II)" (3:57) electronic animal and space sounds and Flintstones-like Beatnick drums and congas reads: Star Wars Cantina (though it also reads Michal Urbaniak and Herbie Hancock). Jaroslav's echoed baritone sax gets an increase on its volume in the second half of the second minute, making it the lead animal in the stampede. (8.75/10)

B5. "Requiem For My Mother" (5:04) like a musical ode for a sunrise or sunset, synth strings chords, bass notes, plaintive salivay sax, and piano make this song quite gentle, respectful, and contemplative if not as emotional as I'd expected (from the title). (8.875/10)

Total time: 38:40

An album of very solid, consistent, mature and adventurous compositions of which two stand out head and shoulders above the rest. I love hearing Miroslav branching out: trying more instruments, incorporating more synths and electronic effects, while also showing how he is mastering the Latin and funk styles.

A-/five stars; a full-fledged minor masterpiece of Jazz-Rock Fusion. Miroslav is moving forward: toward the funk and electronic--and it's working!

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