JERRY GOODMAN

One should not question the virtuosity of Jerry Goodman who was famous with his work in The Flock - his first band after being a roadie of the band. Later he was famous with a legendary band led by John McLaughlin: Mahavishnu Orchestra. You can find this album is dynamic in nature and in some ways indicates his style when he was with previous bands. However I was quite surprised with the opening track who also the title of the album On The Future Of Aviation as there are parts that remind me on David Cross style of fame King Crimson. Nope, I am not saying this track or this album is similar with King Crimson. In fact, they are both at different poles where King Crimson was explorative in nature while this album is pretty much predetermined in terms of its pattern. Yes, there are wonderful and stunning violin solo performed by Jerry here - but the overall composition is quite straight.

There are uses of excellent tabla sounds that create unique atmosphere for the album. I like the way Jerry performs his solo throughout the tracks featured in this second album most notably with the peaks at high register notes. As far as listening pleasure I can say that 'Orangutango' , 'Waltz Of The Windmills' and 'Sarah's Lullaby' are all excellent tracks. On Sarah's Lullaby Jerry performs its best not only his violin work but also how actually he composed this track as it comprises great musical segments.

Overal, I highly recommend you to have this album especially if you like violin sounds. That's actually one good reason why I purchased this album altogether with Jean Luc Ponty, David Cross and Didier Lockwood. Keep on proggin' ...!

Peace on earth and mercy mild - GW

You must be kidding if you know nothing about Jerry Goodman especially for those of you who were there during the glory days of early prog music in the 70s. The roadie-turned-violist was first famous with the Flock prior to his exemplary work with the legendary John McLaughlin's Mahavishnu Orchestra. Then I was actually curious why no one penned anything here at this site on his second studio album released in 1986 until I find it today it's still empty. So I grabbed my cassette collection on this album and now I am writing it for you.

Concept-wise this album was meant different from any act Jerry collaborated in the past as this one is much on jazzy side than progressive one. Put simply this album is much less contemporary than The Flock and Mahavisnu Orchestra and also his previous album "The Future of Aviation". You can find it right away with the straight forward opening track "Going On 17". For me personally, this is an excellent track even though the rhythm section in jazz-mode seems like accompanying the soloist with simple arrangement. I enjoy the violin work he performs here. It flows nicely to "Tears Of Joy". He has also put his effort in a way that makes this album is musically balanced by inserting "Broque" and "Rockers" which sound quite dynamic.

Overall, it's a very good album with balanced violin solo, less contemporary than his previous work with The Flock and Mahavishnu Orchestra. Keep on proggin' ...!

Peace on earth and mercy mild - GW

I've read a few reviews bemoaning the breakup of the original Mahavishnu Orchestra line up. I think there is some consolation in the fact that the individual musicians went on to make some great music on their own. Like Children fine example. This is another one of Jan's great long lost albums. No disrespect to Jerry. He's an equal partner in this music. He seemed to have disappeared from the music scene after this one until he started making reasonably good new age music in the '80's. This album hasn't totally missing over the years. It did resurface in parts on the 1986 Jan Hammer compilation The Early Years.

I know there's a lot of early Maha fans who really need to check it out. If you've acquired the Lost Trident Sessions, you've already heard two songs here - Steppings Stones and I Wonder. The piano line on I Wonder reminds me a lot of Beethoven's Fur Elise. I think it's in the same key.

It's strictly a studio creation. Goodman and Hammer play all the instruments here. Hammer actually plays drums fairly decently. Goodman does some vocals. Also of note, Ken Scott provided engineering. He'd worked previously with the Orchestra and late with the Dixie Dregs.

As with Oh Yeah?, the vocal bits might put off hard core fans of the original MO, but this is really a must have item for your collection. I was fortunate to have found a used copy of the LP a few years back and have been enjoying this music for quite a while. Extra special thanks to Wounded Bird Records for releasing the CD and Mr. Hammer for remastering. No bonus tracks or remixing, unfortunately.

Finally, a CD version to replace my tired vinyl copy !!! Since getting it when it was originally released, I have been humming the catchy bars of "Country and Eastern Music" (nifty title, no?) ever since. This rather playful recording (which is probably why the titled it "Like Children") was the aftershock of leaving the demanding MacLaughlin-led gig, arguably one hell of a tough act to follow and not exactly remembered as pop music!!! I still remember the debate between 70s rockers about who was the fastest six stringer- no contast. So supremo violinist Jerry Goodman and his equally innovative Moogist Jan Hammer erected this often original, extremely unpretentious & very quirky set of tunes , influenced by a variety of moods and experiences. In fact, the interplay between Hammer's keyboard driven "lead guitar" excursions (reprised with subsequent Jeff Beck and Neil Schon albums) and the violent thunderbolts from the violin, make for some inspired music.Nevertheless, this recording serves as a special signpost in the rather eccentric and elitist jazz-rock history, clearly proving that unending technique (hello, Stanley Clarke!!) and the insufferable ego that goes with it , is not what music is about. Above all, it should be, at the very least entertaining, hopefully memorable and at best, awe inspiring. This album certainly doesn't fall in the last category but certainly earns the first two . Oh yeah, before I forget, "Country & Eastern Music" is a real gem that will stick in your mind forever. 4 oberheims

This record is released on the Private Music label, a label dedicated to the dynamic New Age music in the second half of the 80's, like Yanni, Eddie Jobson and Tangerine Dream, among others. The Jerry Goodman's sensitive violin is very appropriate for the often melancholic & melodramatic moods involved. The style of the music consists in dynamic & rhythmic New age with progressive elements. The music is sometimes lively, sometimes sad & nostalgic, but it is neither dark nor obscure. Maybe the tracks are sometimes floating, but the ensemble is certainly not linear nor monotonous. There are very good intense and relaxing modern streams of keyboards. The keyboards may also be very percussive, producing charming textures. There are lots of percussions, acoustic and electric guitars, mandolin, and obviously modern keyboards that can be very melodic and rhythmic. There are some beautiful, visceral and emotional electric guitar/violin solos, truly giving a hard rock style to many passages. The overall sound seems not too artificial, despite the many modern keyboards involved: on the contrary, it amazingly sounds acoustic and natural, a bit like Andreas Vollenweider without the harp. The easy drums and the catchy melodies make this music pretty accessible.

After the split of the original Mahavishnu Orchestra in 1973 (personal conflicts), two of the members - violinist Jerry Goodman and keyboardist Jan Hammer decided to make some music together. "Like children" was the only effect of their work. Album is very comparable with "Mahavishnu Orchestra" convention, so we have: hard sound of electric guitar ("Country and Eastern Music"), dialogues between the musicians ("Topeka"), pastoral mood ("Remember me"), and typical for Mahavishnu dramatic compositions ("Stepping tones", "Night"). Album contains also new versions of two tracks: quoted "Stepping Tones", "I wonder", which were played by the Mahavishnu, a short before the split (you can listen to these ones on "The lost trident sessions" album). There are no guests on the album - pair record all the parts of instruments. Excellent position for Mahavishnu Orchestra fans.