ZVESTI

This album was released in 1978 and once again Martin Kratochvil the keyboardist dominates the sound here. This is the fifth album and Martin really took control of the band's sound on the fourth album with his name even being used along side the band name JAZZ Q on the album covers from that fourth album straight through to the seventh and final record. What makes this one different though from their other albums are all of the electronics he uses. Of course when you think electronics and Jazz you think of the Mwandishi period of Hancock, but the music here is much tamer than that and not nearly as good in my opinion. Now keep in mind that this was an amazing band but I just feel their earlier stuff was much better.

"Klekanice" opens with atmosphere as sparse sounds come and go. Spanish-like guitar too. It kicks in after 2 1/2 minutes with the electric piano, bass and drums standing out. Synths replace the piano as they trade off in this uptempo and jazzy opener. "Vzknseni" is relaxed but with depth. We get a beat with synths over top. Guitar before 4 minutes but it's brief. "Slepej" has relaxed guitar and sound with some electric piano. Chunky bass before 2 minutes as the electric piano plays over top. The guitar solos over top later. "Jinotaj" is slowly played piano with synths. It sounds like strings after 2 1/2 minutes.

"Trist" has some crisp sounding drums with synths then guitar. The guitar becomes more passionate. "Korouhvicka" has these twittering synths and atmosphere. Drums and a change 2 1/2 minutes in, then back to the previous soundscape after 3 minutes. "Krupej" is piano and synth led while "Vetroplach" is laid back with guest sax helping out along with the usual synth dominance.

An interesting album that is worth checking out.

Martin Kratochvíl and company are experimenting with new sounds and simpler, more melody-oriented styles.

1. "Klekánice" (6:20) some interesting multi-scenic cinematic music opens this with guitarist Lubos Andrst getting some extended solo time in the second and third minutes on his acoustic guitar. At 2:40, then, the band suddenly bursts forward into fourth gear, racing smoothly down a country highway, occasionally slowing down with an oft-repeated bridge in order to negotiate turns on the road. Then, at 4:20, the band stops with a really weird change in motif which turns out only to be a different bridge (maybe a covered bridge), but then it launches right back into the fourth gear motif for some proficient electric guitar work. An okay and interesting start to the album. At least this one's true Jazz- Rock Fusion.(8.875/10)

2. "Vzkřísení" (5:15) opens with a little BOB JAMES-like feel and sound before Lubos' bluesy electric guitar steers us into an unexpected direction. But it's Martin Kratochvíl's synth (MiniMoog D) that takes the real first lead: eschewing melody for the selected sound's ghostly effect while the rest of the band maintains the rock-solid three-chord foundation. At 3:38 Lubos bursts in again, trying to re-assert the fact that this is really supposed to be a blues-rock song. But then Martin takes the next solo on his Fender Rhodes. Some very interesting elements to this song but, in the end, it's just not anything very memorable. (8.75/10)

3. "Slépěj" (5:30) guitar leading straightaway over Fender Rhodes and the rest of the band, here they are obviously trying to deliver a "pop" like melody--one with memorable hooks in it--and they are pretty successful. I love Premysl Faukner's free and undisciplined bass play throughout. And Martin gois into some of the most jazzy keyboard play he uses on the whole album. Lubos' electric guitar play is wonderfully nuanced: He even goes through some fiery John McLaughlin and melodic Santana imitations before he stops. Definitely a top three song for me. (9.125/10)

4. "Jinotaj" (4:30) Martin's piano (electric but on its most "acoustic" setting) is joined by his MiniMoog, setting forth a slow-paced motif with long, sustained note play from the synth lead. Synth strings join in the second minute as the MiniMoog continues its explorations. Jazzy chord progression from the piano in the third minute leads to a temporary key change, and then back down to something lower for the fourth minute. Interesting. Almost a lullaby. Almost a nocturne or ballad. (8.75/10)

5. "Třísť" (4:30) two melody lines coming from guitar and Fender Rhodes create a dreamy weave that is then joined by the rest of the band with Martin adding the MiniMoog to the slow-and-steady rock and roll palette. Lubos takes the first extended solo. (8.75/10)

6. "Korouhvička" (4:30) high registers of two synthesizers playing fast arpeggios give the opening the sound of a flock of birds chirpping around. Guitar, bass, cymbals begin to add their slow melodic notes to the mix, then one of Martin's keyboards peels off to try to lead, but the big reveal of structured music comes at 2:27 with a surprising blues-based motif--which lasts less than a minute before the musicians back off, returning to the roosting birds motif of the first two minutes. Weird. (8.666667/10)

7. "Krůpěj" (4:50) more shlock and surprisingly simplistic music and syrupy melodies. I do like the weird effect given the bass. (8.75/10)

8. "Větroplach" (7:25) bass and MiniMoog open this one, as in "Tríst", making a two-melody weave. ARP strings join in support of Premusl and then chorused Fender Rhodes before the drums and full keyboard complement join in during the second minute. Again Martin and the leads are trying to create melodies that are pretty and memorable, but they err a bit too much on the side of pretty, sounding often like Spyro Gyra smooth jazz. A Steely Dan-like tangent is taken in the third minute as Jan Martinec's soprano sax returns for the second appearance on the album. Still, the chord progressions and support melodies are just too melodic: they've sacrificed rhythmic creativity (even Jirí Helsic's nuanced drum play) for "prettiness." (13/15)

Total Time 42:50

The sound choices and musical style choices made by the band do not work for me: the former is too experimental and rushed into, the latter too simplistic and easy--and the melodies are just too simple. Plus, there's just something weird about the overall sound engineering. The band's exploration of the possibilities of Jazz-Rock Fusion has only resulted in some middle-of-the road Smooth Jazz.

B-/3.5 stars; while exploring a lot of interesting ideas with a lot of interesting sounds, the songs on this album are very inconsistent in style, complexity, and sound quality. The shift over to Smooth Jazz is in process. Not the best Jazz Q album to start with.