GARDEN OF EDEN

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Passport is a very good fusion band, having VERY catchy sax melodies and rhythms. The sound here is quite fresh. Most of the songs have a pleasant sophisticated pop style, which is very addictive and accessible: The "Garden of Eden" track sometimes sound a bit like the Pacific Eardrum band. The impressive rhythmic sax on "Dreamware" sounds a bit like the one from the Solution band. The overall comparison with Solution is valid, despite Passport has electric guitars, and they seem to use more modern keyboards, producing more atmospheric textures here. I also find the lead vocals on Passport better than on Solution. This album is, like the Solution's pieces, a bit sentimental, as reveals the "Good Earth smile" track. This record has also just a bit the Spyro Gyra style, although Spyro Gyra is more nervous and use more vintage keyboards.

This is the first album I heard by Passport, although I didn't hear it until 1987. Not having the history of the band, I was able to judge it on its rather substantial merits. This is an album that blends light jazz and progressive rock with a commercial savvy. It might not have great appeal to elite fans of either genre, but should provide lasting pleasures for the rest of us.

The album starts with a big bang, which is also the title of the lively and bouncy opening instrumental. Next is the title track, and the jewel of the album. It begins with dreamy saxes that eventually accompany the gentle vocals before some great moog playing kicks off the main event. Here with the merest and briefest strum, vocalist/guitarist Kevin Mulligan creates an infectious rhythm guitar base that chugs away as a third member of the rhythm section, to which his considerable lead prowess is then placed on display. This awesome song contains just the right mixture of repetition, soloing and improvisation, not to mention a killer melody and sympathetic lyrics. Doldinger's sax takes over near the end to bring about the fadeout in a flourish. For some reason, here and in other parts of the album, I am reminded of Caravan as well as Camel during its Caravan-esque phase, which would have been around the same time as this release.

"Snake" describes the meandering way of Doldinger's work in this languid instrumental that is a great choice for the end of a tough day. Then another strong and lively vocal tune, "Gates of Paradise", a bit jazzier than "Garden of Eden" , and one that purists might have paid more attention to if it didn't have the vocals. The end to the song is very much of its time, almost sounding like something out of a concurrent BeeGees album. "Dreamware" continues this theme but without the voice, and with Doldinger cranking out an engaging sax theme that holds the piece together around impressive soloing by Mulligan. "Good Earth Smile" is the closest thing to a ballad on the album, and reminds me of something like "Starlight Ride" or "Rainbow's End" from Camel, only less focused. Then its back to the late 70s sound with the closer, "Children's Dance".

For myself, I would tend to round up to 5 stars for this album, but in the interests of listeners who might not be amused by some of the commercial concessions made by Passport on this release, I will round down. Highly recommended work of virtuosity and just plain fun.

Garden of Eden is slightly better then the preceding Passport album. Just slightly, very slightly. The focus is still on easy-listening jazz, new-age and mainstream jazz-pop. I'm not an expert in those genres but I'd say the album would even score rather low compared to others.

With Big Bang the band combines their pop tendencies with a bit of soft-rocking excitement. Hardly compelling but the fretless bass adds an interesting viewpoint. After two short and forgettable new-age ditties, Light II has a go at the smoother side of Santana's Latin pop-fusion. There are even some vocals! But what a dull and sterile track, certainly when comparing to the real thing from mr Carlos. More new-age follows on Snake, more funk-pop on Gates of Paradise and Children's Dance, meek soul-pop on Dreamware and cheesy ballad-pop on Good Earth Smile.

This album was my last hope of finding any further interesting music from Passport, so I've never even thought of trying anything from their 80s output. The album is close to a total disaster and no match for the more inspired music of their early career. Unless you like your jazz mellow, pop and unobtrusively new-age, I'd suggest trying your luck with the debut or Cross-Colatoral.