QUASIMODO

LABORATORIUM were an important part of the Jazz scene in Poland in the early seventies playing a lot of live shows. They didn't release anything until those two singles in 1972, and their debut wasn't released until 1976, so by the time this the third studio album was released in 1979 these guys were a highly respected band. Not as fiery as say SBB who were more into Blues/Jazz but different like WEATHER REPORT or MANFRED MANN CHAPTER THREE.

One thing I've noticed is that if a band is described as sounding like WEATHER REPORT I have a hard time with them. Maybe because I have a hard time with WEATHER REPORT(haha) only liking that three album run after the debut. And other than say PERIGEO I just need to stay away from these type of bands. This was a difficult rating for me but 3.5 stars seems right, better than their next record "Nogero" which is "Oregon" backwards as a nod to that band but that record isn't as good as this one in my opinion.

Some strange sounding synths on the two LABORATORIUM records I own and they can sound awesome it's just surprising some of the sounds the keyboardist gets out them. And when they are "off" it just sounds lame to my ears. This is an album that isn't for the faint of heart and personally I'm not into the cover art or album title while the actual music is hit and miss.

"I'm Sorry, I'm Not Driver" is the only english title thankfully and this is a top three for me. Vocal melodies on this one and synths are hit and miss. Acoustic guitar I believe too. Another is "Sniegowa Panienka" for the sax and overall sound while like most of you that closer "Ikona" really stands out, and it's a tribute to legendary Polish Jazz musician Zbigniew Seifert who passed the year this album came out.

I honestly have trouble with SBB as well except for those two fiery live Fusion albums "Hofors" and "Karlstadt". I'm on the fence with this one but most rate this high.

Polish Jazz band Laboratorium are back with their second foray into the world of Jazz-Rock Fusion, here succumbing to the pressures to produce listener-friendly Smooth Jazz a little earlier than they might have wanted.

1. "Przejazd" (1:35) like a Berlin School Electronic space intro. Synth, synth electronic percussion sounds, synth beat, sliding fretless bass notes. Quite awesome! (4.625/5)

2. "I'm sorry, I'm not driver" (7:07) treated jazz bass intro from Krzysztof Ścierański introduces an awesome motif with dreamy keyboards and equally-dreamy vocalese singing wordlessly over the top. The bass, however, is definitely the star of this one despite the interesting almost-tribal/village vocals and great keyboard work. Coupled with that unusual title, this makes for a very interesting, unusual, and, ultimately, quite entertaining (and even engaging) song. Great acoustic guitar soloing from Paweł Ścierański at the end of the third minute which is challenged by Paweł's own electric guitar in the right channel soon after and continuously trading solo barbs with one another over the next minute before being supplanted by a pretty impressive bass guitar solo in the fifth minute. Overall, this song really made an impression--and managed to stay with me long after I left the source. (14/15)

3. "Etiudka" (1:26) cool piano play that serves as a beautiful and original little interlude between the big songs. It gets a little bluesy in the middle (darn!) and then finishes rather meekly. (4.375/5)

4. "Śniegowa panienka" (8:16) feels like the musical score behind a 1980s television news show, the melody theme borrows a bit from WEATHER REPORT and other Eastern European bands of the 1970s. The piano, drum, and fretless bass sounds are so clear and up front that it leaves me wondering why the choice to image the saxophone so far in the back (and give it that odd effect). I hear no guitar. The bass guitar is so far forward it might be too far. The piano playing is excellent though leaning a bit toward smooth lounge jazz. (17.75/20)

5. "Lady Rolland" (1:44) a weird weave of odd synth sounds and unusual effects deployed over instruments like voices and sax (sounding like the effects Jon Hassell runs his trumpet through) with percussive wordless vocal notes and beats. I'm guessing that this is Marek Stryszowski's contributions to the Yes Fragile-like "solo" interludes. Definitely not your every day interlude! (4.375/5)

6. "Quasimodo" (10:51) almost laid back BOB JAMES-like smooth jazz that manages to stay out of those ruts--but just barely. Luckily, there are few stop and turns that allow the song to serve up some nice solos from Marek Stryszowski's sax, Paweł Ścierański's electric guitar(s), and brother Krzysztof Ścierański's fretless electric bass. (17.75/20)

7. "Kyokushinkai" (2:54) I think I've figured out that these interludes are kind of the band's attempt to offer solo "workshop" compositions from the individual band members: this one from guitarist Paweł Ścierański and drummer Mieczysław Górka. A nice little duet. (4.5/10)

8. "Ikona (In Memory of Zbigniew Zeifert)" (6:15) another tribute to much beloved (and influential) countrymate and noted jazz violinist Zbigniew Zeifert who died of cancer early in the year of this production. There is definitely a feeling of respectful homage to this song: including keyboardist Janusz Grzywacz' creative use of a synthesizer to emulate Zbigniew's instrument of expression. It does drag on a bit, however. (8.875/10)

Total time: 40:08

While the musicianship is still achingly present, the music has, unfortunately, moved into the fringes, if not the main streets, of Smooth Jazz. I like the fact that the band is offering completely accessible while still maintaining an element of exploratory experimentalism--and while somehow still finding ways to play using their high skill levels. All is not lost!

A-/4.5 stars; a minor masterpiece of transitional Smooth Jazz produced by some fine musicians who are reluctant to let go of the exciting dynamics and musicianship required of Third Wave Jazz-Rock Fusion.