TALE OF THE WHALE

1. "The Fly" (4:04) pseudo-funk that sounds like it came from a high school "big" band/orchestra--recorded in their own gymnasium. (8.75/10)

2. "Tale Of The Whale" (10:35) sounds like someone crossed an exaggerated Eberhard Weber bass with some VANGELIS music in an effort to try to replicate whale music in the ocean. Not quite Paul Winter Consort, but close. Around the fourth minute the band tries to go full PAUL WINTER Consort with a WEATHER REPORT rhythm section. Very catchy and engaging. The bass player, Randy Tico, is very good: very melodic. Too bad the opening four minutes wasn't so corny. (17.75/20)

3. "Homage" (3:38) (bass) trombone soloing over piano, fretless bass, and drummer's mostly-cymbal play. A bit of an early Pat Metheny vibe to this. Horn section takes over in the third minute for a crescendo before settling in for a gentle let down to finish. (8.75/10)

4. "Galadriel" (7:04) cinematic VANGELIS-like soundtrack music over which Randy Tico solos on his fretless bass. Horn section and drums kick in around the one-minute mark giving it a Broadway musical sound and feel. Piano solo that follows is very easy listening lounge music. It's a nice song--but definitely more elevator/Adult Contemporary music than hard-drivin' or funk J-R F. (13.125/15)

5. "Nessim" (4:57) definitely some late night street creepin' cinematic stuff. Randy Tico's fretless bass is once again in the driver's seat though the chatter of the horns in the back seat and toms of the road noise certainly play a role. Then we get the input of the choral male vocalists singing wordless "Aaah"s. Dreamy and somnambulistic--and perhaps a little too repetitive and, therefore, monotonous. (8.66667/10)

6. "Narouz" (7:40) opens with the enticing promise of SHAKTI's "Mind Ecology" before muted trumpet and chorale vocalese takes on a. When the band settles into its full form, it is over a near-Latin rhythm track of a single speedy fretless bass riff, fast drum pace, and Herbie Hancock-like Fender Rhodes support. Bridge into refresh over which Larry Darling's trumpet lashes out with the Fender Rhodes just beneath. At 2:45 there is a slow down for a solo from John Harmon on his electric piano. The band gradually--almost imperceptibly--rejoins and pushes John farther. Michael Murphy's drums are quite impressive. This is definitely the most vibrant, dynamic, and true example of Jazz- Rock Fusion on the album--maybe the only exemplary example. (13.75/15)

Total Time 37:58

A mixed bag of wide-spectrum samples of Jazz-Rock Fusion styles--from Latin, funk, cinematic, New Age, Smooth, and "big band," there's a lot of J-R Fuse's history represented here.

B/four stars; an excellent eclectic sampler of many styles of Jazz-Rock Fusion with some very clean sound and very tight performances. Recommended!