MIROSLAV VITOUS

3.5 stars. Miroslav Vitous should need no introduction to Jazz fans out there. He's from the Czech Republic learning his instrument at the Prague Conservatory. He won an international competition in Vienna which included a scholarship to the Berklee College of Music in Boston. He moved there in 1966 and then movied to NYC after that. It was in New York that he would work with Miles Davis, Stan Getz, Chick Corea, Charlie Mariano and more. Miroslav is such a talented bass player.

Vitous released two solo albums in 1970 before joining WEATHER REPORT. "Purple" is the second of those and really it's a stepping stone to that first WEATHER REPORT album. In fact, two tracks on "Purple" would be on that WR debut. Those would be called "Water Lilie" and "Seventh Arrow". His first solo record was called "Infinite Search" and it's a much better album than "Purple". It has a pulse at least. We have John McLaughlin playing on both, but on "Purple" he's just briefly on one track and unless your listening closely you will miss it. You can't miss his playing on "Infinite Search", lets put it that way.

Also that debut had the great Joe Henderson on sax. No horns on "Purple". And it also had Herbie Hancock on keyboards. That truly was a band effort, while "Purple" is a trio for three of the songs, and a duo for the other two tracks. "Purple" is very ECM-like. Minimalistic and sparse. The only grit is the bowed bass from Vitous. I don't have the patience for this stuff. Thankfully it's just over 36 minutes. This record was only released in Japan as Vitous sold the rights to it to Sony in Japan. It was re-issued once in 1974 then crickets until 2024 and the release of this album on cd for the first time.

And what an embarrassment when you compare this re-issue to say what the MPS label has been releasing of late. MPS has done it right with detailed liner notes, taking pride in these old jazz recording, while Sony has done as little as possible. I opened the liner notes to see two blank/white pages. It reminds me of buying cds in the 90's and seeing that once in a while. So I get the original front and back cover and that's it! Two of the tracks here are covers as well. We get Ron Carter's "Mood" which is ballad-like(aren't they all) and Wayne Shorter's "Dolores". The closest artist in my opinion to what I'm hearing here is Eberhard Weber's solo music, but he did it much better.

So I can't say it was worth the wait. It wasn't. But you ECM label fans will find plenty to enjoy here.

Having had fun experimenting with many new electronic enhancements (including keyboards and synthesizers) on his previous solo album, 1976's Majesty Music, we see here Miroslav taking a more serious and more independent approach--using only a single percussionist as his collaborator for each song while relying on his own talents for all the rest of the sound generation.

1. "Watching The Sunset Run" (8:02) a song that plays out more like a Weather Report song than any we've heard from the former WR member (and founder) as Miroslav plays his multiple tracks of basses with some periodic electric piano, ARP synth strings, and MiniMoog contributions with the cymbal-heavy multi-track contributions of long-time collaborator (and fellow Weather Report founding member) Don Alias. A cool song that also comes across as an OREGON/CoDoNa-like song. The melody production is okay, but the constant tension and urgency generated by the rhythm track is quite compelling. (13.75/15)

2. "Bassamba" (2:58) solo bass opens up with some flourishes and riffs before starting up a two-and sometimes three- chord Samba motif which Don quickly fall in line to support. Miroslav's bowed bass occupies the lead position while his electric piano and ARP synth strings add spice in the middle to give it a little Chick Corea flavor. Well done, Mr. Vitous! (9.125/10)

3. "Tiger In The Rain" (8:54) electric piano opens this one, playing a lot like Joe Zawinul (the man had just finished spending six years under the tutelage of his elder and fellow Eastern European)--for a long time before small contributions from Miroslav's other keys and basses as well as Don Alias' bongos and (later) timbales join in. I'm not sure what tiger Miroslav had observed to inspire this song--or if the title was just applied randomly from a saved list of previously generated song titles--but I don't see the connection--unless one were trying to account for the youthful play of a young cub experiencing the fascinating effects of the rain for its first few times. Not as interesting, developed, or dynamic as one might have hoped--and very little bass play! (17.25/20)

4. "Concerto In E Minor" (5:30) ARP strings and congas open this free-flowing, Indian-like song with electric piano and bowed electrified double bass that sounds remarkably similar to the low-end tones of SHAKTI's Shankar with his patented double-neck 10-string violin. There is a bit of a tempo and motif change in the fourth minute as Don and the electric piano start up a new pattern while Miroslav continues soloing with his bowed bass, but then the ARP strings kind of move to the front as Don and Miroslav step back a bit to make room for Miroslav's pizzicato double bass for the song's final minute. Odd and not feeling as "classical" as the title would seem to suggest. (8.75/10)

5. "Pictures From Moravia" (4:49) electric piano and bowed electrified double bass present and each play with the main melody while pizzicato bass and ARP strings add their periodic notes and flourishes. Things get a little heated in the second half of the second minute--especially with the bowed bass--but then shift in the third minute as the MiniMoog and electric piano sneak in for a little more shine. The ARP strings chords tend to spoil it for me; I think the song would have been much better with them left out. (They tend to "date" the music, as well.) (8.875/10)

6. "Sonata For A Dream" (5:39) opening with Armen's sparse, mostly-metallic percussion play, Miroslav focuses on (bombastic) piano as his main conveyor with ARP strings and MiniMoog providing a lot of the lead flourishes and melody. I do like the fact that this song presents a slowly building and more dynamic sonosphere than much of the album's other songs--even evoking some of the feelings that I feel are signatory to the experience of listening to a classical music sonata. (8.875/10)

Total time: 35:52

Despite years of collaborating with others (especially Joe Zawinul but also Herbie Mann and Wayne Shorter), I've always had this sense that Miroslav was a rather fiercely-independent artist, and I think that this album serves as proof of that. With his previous year's album he was still relying on collaborators while exploring new technologies but he was also taking on much more of the musical textures for himself: learning and attempting to take over the keyboards, electronics, and even engineering duties on Majesty Music, but now, with Miroslav we have the butterfly finally, if shyly, emerging from his cocoon to begin to create music that is most all of it his. A very challenging prospect, I've always thought that this "one-man band" approach (and attitude) can have a limiting, even detrimental, effect on the outcome--on the musical product. I've become convinced that collaboration, review, and feedback (even if it's critical), is important to a product that the public can and will connect with. Though Blue Note producer Michael Cuscuna is credited, I have a feeling that this was more Miroslav's solo project.

B/four stars; an interesting and often intriguing album that presents one artist's vision most purely--with only one collaborator--a percussionist--to be held accountable to.

An album that was recorded at Todd Rundgren and Moogy Klingman's "Secret Sound Studio," produced by Miroslav, and released by Arista Records in 1976, quite possibly in November. This was Miroslav's first record made with Arista and perhaps his first encounters with--or, at least, use of, the MiniMoog (via Todd & Moogy's in-studio equipment).

A1. "X Rated" (3:25) a catchy funk-jazz tune with some great musicianship--with the surprise inclusion of the Urszula Dudziak-like wordless vocalese coming from Israeli-born vocalist/keyboardist Rimona Francis. A great, solid song with some wonderful surprises (besides the delightful female vocalese): Lenny White's smooth yet syncopated drumming, Miroslav's funky, soloing electric bass play, the predominance of so many synth sounds, and the smooth yet not annoying sax play of Jaroslav Jakubovic. Yeah, it's Disco, but at least it's interesting--and progressive. (8.875/10) A2. "See You, November" (3:25) a gentle pop-jazz tune with wonderful conga-based music (great work from percussionist David Earl Johnson) and Jaroslav's breathy sax (double tracked--or chorused) played over some pretty extraordinary Latin Jazz bass playing and innovative synthesizer stylings from Kenny Bichel. Not only is it a mesmerizingly soothing, beautiful song, but Miroslav's bass playing is really something to behold. (9.75/10)

A3. "Majesty Music" (4:35) an edgier song that is dedicated to the late, great Duke Ellington (who passed on May 24 of 1974), this one veers more toward jazz and free jazz that has everybody kind of flying around like loose canons despite the fairly solid groove being laid down from Rimona Francis's droning string synth and Gerry Brown's (poorly recorded) drumming. Miroslav and Jaroslav seem to be having the time of their lives. Great musicianship doesn't automatically make for a great, listener friendly song--especially when there are deficiencies in the sound engineering department. (8.875/10)

A4. "New Orleans" (3:20) funky bass--coming from two different bass players, both playing at the same time! and Lenny White's wonderfully smooth and easy drumming supporting more wordless "vocalese" coming from not only Rimona but Miroslav's MiniMoog and Jaroslav's "distant" sax. Miroslav's work on heavily-effected super-funky clavinet and Fender Rhodes are also extraordinary. (9/10)

A5. "Do You, Don't You, Won't You" (3:00) a fun, disco-driving funk song that sounds like something straight out of a contemporary Michal Urbaniak album. Bowed bass, electric bass, layers of synthesizers (including bass notes/chords?), Lenny White's disco drumming, Jaroslav's three different saxophones and flute, all serve to make for a light and freeing little dance tune. The ABBA-like ending is a bit weird. (8.875/10)

B1. "Best Friends" (4:10) high-speed guitar and double bass (both coming from Miroslav) with sensitive and highly- skilled and amazingly-nuanced drums from Gerry Brown, fast-playing congas from David Earl Johnson, while Jaroslav screams out with his tenor sax as if he's some kind of John Coltrane or Pharoah Sanders. Interestingly, the song kind of smooths out--especially with regard to Jaroslav's sax play--for the final 45-seconds. Wow! Let's hear that again! Not necessarily a favorite but such an impressive display of skills and interplay! And it just keeps getting better with each listen! (9.375/10)

B2. "Streams And Fields" (3:04) two tracks of congas from David Earl Johnson with synth and bowed electric bass, Vangelis-like synth strings chord-washes, synth bass, and English boys choir-like vocalese from Rimona, and, later, sax from Jaroslav, this is really a carpeted interlude for Miroslav to play with his electronic effects on his bowed bass. But it is pretty cool! My favorite part is actually Rimona's almost-worded vocalese at the end. (8.875/10)

B3. "Folks" (4:40) Miroslav's pensive electric piano is soon joined by Jaroslav's "Funny Valentine" melody from his alto sax as Miroslav adds some synth strings and, finally, some double bass. But that's just the intro: at 1:20 piano and drums (courtesy of Bobby Goldman) and congas establish a comfortably-paced convertible-cruisin' groove within which the piano and Rimona's uncredited vocalese present melodies before Jaroslav's delay/echoed alto sax enters to finish off the radio-friendly smooth groove. Nice tune. (8.875/10)

B4. "Mount Shasta (Part II)" (3:57) electronic animal and space sounds and Flintstones-like Beatnick drums and congas reads: Star Wars Cantina (though it also reads Michal Urbaniak and Herbie Hancock). Jaroslav's echoed baritone sax gets an increase on its volume in the second half of the second minute, making it the lead animal in the stampede. (8.75/10)

B5. "Requiem For My Mother" (5:04) like a musical ode for a sunrise or sunset, synth strings chords, bass notes, plaintive salivay sax, and piano make this song quite gentle, respectful, and contemplative if not as emotional as I'd expected (from the title). (8.875/10)

Total time: 38:40

An album of very solid, consistent, mature and adventurous compositions of which two stand out head and shoulders above the rest. I love hearing Miroslav branching out: trying more instruments, incorporating more synths and electronic effects, while also showing how he is mastering the Latin and funk styles.

A-/five stars; a full-fledged minor masterpiece of Jazz-Rock Fusion. Miroslav is moving forward: toward the funk and electronic--and it's working!

After eight years in the think of the foundation and development of Jazz-Rock Fusion, Miroslav apparently felt it important to "prove" to critics that he could play/do funk (which had become all the rage since Herbie Hancock's Head Hunters and Thrust albums in 1974 and 1975, respectively. So, who better to help him out than the jazz-funk-master himself!

Line-up/Musicians: - Miroslav Vitous / bass, guitar [360 synth], synthesizer (MiniMoog) - James Gadson / drums (A1, A2, B3, B4) - Airto Moreira / percussion - Jack DeJohnette / drums (B1, B2) - Herbie Hancock / keyboards (Fender Rhodes, clavinet, synthesizers [Arp Odyssey, Arp String Ensemble, MiniMoog]) - Cheryl Grainger / vocals (A1, A2, B2, B3, B4) - Onike / vocals (A1, A2, B2, B4)

A1. "Basic Laws" (11:46) two female vocalists open this with some celestial chanting accented by bass notes and weird synthesizer sounds. At the 90-second mark the song funnels into a slow-tempo funk tune with clavinet, bass, congas, drums, and guitar and synth incidentals. The rhythm section remains totally constant while the vocalists, guitar noises, and synth noises play a bit over the top (far less than one would imagine). An occasional key shift seems to add impetus to try new things--especially the one at 6:30--and it does but not really enough. Still, as a funk song, this one has it. Whispered vocals repeating over and over "it's rhythm" join in for the ninth and tenth minutes but then slip back into the background celestial heraldry in the eleventh as the music thins out a bit (while remaining totally committed to the funk). Then it fades out. (22.5/25)

A2. "New York City" (9:32) a more up-tempo, near-disco tune from the first note with very funky wah-wah-ed clavinet and Fender Rhodes (Herbie at his very best!). Vocalists make their first appearance, briefly, around the one-minute mark and thereafter become like curious alien beings making background commentary (a previewof Newcleus' "wicky, wicky, wicky"?) The keyboard work in the third minute makes one think of Michael Jackson's "Wanna Be Startin' Something." The changes and variety of offerings make this one a real pleaser (despite the near-disco beat). And, yes: Miroslav can play funk! But, this for whatever reason, this is Herbie's song to shine on--even rivaling Billy Preston's "Space Race" in places. The shift into spacey dreamland in the seventh minute is very cool--very engaging--really giving Miroslav and Herbie room to show of even more of their keyboard and (for Miroslav) guitar ideas. (18.75/20)

B1. "Synthesizers Dance" (5:09) a syncopated more WEATHER REPORT-like attempt at funk: more spacious and less groove-oriented. Even the sounds being generated for lead instrument sounds are kind of off the wall--like something Parliament funkadelic would explore. Lot's of instrumental flare being shown off from multiple musicians here (and especially Miroslav)--which raises the interest/intrigue factor significantly. Good jazz-rock fusion. (8.875/10)

B2. "Magical Shepherd" (6:09) horn like call opens this before bass and Rhodes join in with lots of percussive noise from both Airto and Jack DeJohnette. The lady vocalists are back, this time singing in tandem, singing like a church or Broadway choir. It's actually kind of cool! And the music on top is interesting. At the end of the second minute there is some smoothing out of the basic music, almost committing to a set structure, then, just as you're getting used to it, things shift again into something more jazzy, less committed to linear flow (sounding a little like some of Larry Coryell's brilliant, but chaotic, ideas). Guitar soloing ensues as Herbie and Jack play off of one another with some fun recklessness. Vocals return at the five-minute mark to give the song a kind of celestial stamp of approval into the finish. This one is not a funk song; it is jazz-rock. It is, however, very interesting--definitely worth repeated listens. And the song one which I like the effect of the female vocals the best. (9/10)

B3. "From Far Away" (2:30) a song built around Cheryl Grainger's jazz vocal. Airto and Miroslav's synth bass, Arp, wah- ed rhythm guitar, and Arp strings (no Herbie on this one). Feels like an étude or interlude--definitely an ude. (4.375/5)

B4. "Aim Your Eye" (6:57) a pretty decent funky jazz-rock fusion tune despite the weird background female vocal chants and weird synth "saw" guitar chords! (13.375/15)

Total Time: 42:06

Another case in point to my argument that Jack DeJohnette--as extraordinary a drummer as he is--is not a funkster. I have the feeling that getting Jack to play funk was like asking Bill Bruford to play straight time (or, for that matter, funk!)

A-/five stars; a minor masterpiece of Jazz-Rock Fusion: one that is consistently of very high compositional and performative standards but does little to really excite or push boundaries. Also, an album that presents two rather strikingly different faces: the funk side with Herbie Hancock, Airto Moreira, and drummer James Gadsen, the other with jazz-stalwart Jack DeJohnette and funk-less Miroslav steering the rest of the musicians toward more jazz- traditional and Jazz-dominant (yet experimental) Jazz-Rock Fusion. Recommended to all Jazz-Rock Fusion enthusiasts. If anything, the performances of these top notch musicians might be worth it all on their own.

Recorded in New York City on August 25, 1970, under the supervision and production of Miroslav's current bandleader, Herbie Mann. Herbie had just started his own music production label, Embryo, and here acts as both producer and distribution agent for this, 23-year old Miroslav's second record as a bandleader. Of the four hot-shot 30-somethings that participated in Miroslav's debut solo album nine months before, only John McLaughlin returns (and he only for one song).

A1 "Purple" (9:40) Billy Cobham's drums are so attention-grabbing that one forgets to listen to Miroslav's bass--which is supposed to be the lead instrument. Even when Billy is only playing rims and light toms (while Joe and Miroslav duet and duel) he is still mesmerizing. (Perhaps it's the way he's mixed: so forward and mostly on the left.) Still, Joe and Miroslav are both mighty impressive throughout. (This might be one of the more impressive Joe Zawinul performances I've heard--though it took two tracks of the electric piano to do so. I like it!) Billy's just putting on a show. (How can the others not want to just stop and watch in awe and wonder?!) Miroslav returns to bowing his double bass in the eighth minute (preparing us for Stanley Clarke). Great stuff! And not just for the phenomenon that was the young Billy Cobham. (He was 26 at the time of this recording). (18.5/20)

A2 "Mood" (7:34) Billy's on brushes for the opening of this one as Miroslav and Joe establish a soft, plodding pace with their calm spacing of their notes and chords. Miroslav picks up the bow to issue the first plaintive tones of melody and then Joe gets a turn to respond--just like a relaxed conversation over a bottle of red on a late-night couch review of a couples' day. The like attunement between the three artists throughout this song is really something to behold. A veritable masterpiece of three artists being mentally and spiritually "synched." (15/15)

B1 "Water Lilie" (8:57) the song opens with some quiet, spacious yet-very pregnant interplay between the three musicians (Miroslav, Billy and John McLaughlin) with Billy merely holding a beat on his hi-hat while the John plays around with some amazing chord selections (some of which was heard on Tony Williams' first Lifetime record [in Vashkar"] and some of which will be heard in their different states of evolution on his first Mahavishnu Orchestra albums). Miroslav is triple-tracked with electric bass, bowed double bass, and electric piano all playing within the same areas of the song. How interesting to have John's guitar chord play vying for attention with all three of Miroslav's instruments. I wonder how this was recorded: Did John have the benefit of playing with any of Miroslav's tracks--live or recorded? Unfortunately, the song is more interesting for trying to follow/predict each of its five nearly-independent feeling tracks. Fortunately for me, the listener, Señor Cobham is never unleashed so I am able, therefore, to pay close attention to the work of McLaughlin and Vitous. (18/20)

B2 "Dolores" (4:10) recorded rather differently than the first three songs: with both drums and bass rather quieter or back further in the mix--the band is down to a duo now, but Billy Cobham and Miroslav have more than enough to offer on this Django Reinhardt-like jam. I love the way Billy's cymbal work matches all of the vim and verve that Miroslav puts into his bass and then the toms fill the spaces where Miroslav rests! Excellent entertainment. Too bad there wasn't anything as memorable as the album's opening song. (8.875/10)

B3 "It Came from Nowhere" (5:18) Another "quartet" with Billy Cobham delighting and impressing on his drum kit while Miroslav plays electric bass, bowed double bass, and a pretty impressive electric piano. Tbis one feels a little less finished, more haphazhard and uninspired (especially from Billy) than Side One's songs. (8.75/10)

Total Time: 35:39

This album may be where I find my favorite work from Joe Zawinul. The trio especially seem to have an incredible rapport and ease with one another as I've never heard Miroslav feel this much "a part" of an organic whole--though for three of the songs it took three tracks of his own expression to accomplish. Still, a very impressive album. I'm sure Herbie Mann felt no surprise (or misunderstanding) when Miroslav left him to fly off in another direction (to Weather Report) after their next album together.

A/five stars; a minor masterpiece of Jazz-Rock Fusion featuring four artists reaching the absolute peak of their powers (but not yet fully aware of such).

Recorded October 8, 1969 with Miroslav's at-that-time bandleader Herbie Mann producing. This January publication was one of the first releases of Herbie Mann's new label, Embryo Records. It is also remarkable for bringing on board four of jazz-rock fusion's hottest fairly-young phenoms in John McLaughlin, Jack DeJohnette, Herbie Hancock, and Joe Henderson.

A1 "Freedom Jazz Dance" (10:54) a basic show of fiery bass and drum skills with a notable display of unhinged guitar pyrotechnics in the sixth and seventh minutes. Despite the electrified contributions of Herbie Hancock and John McLaughlin, this music is still well inside the realms of what I'd call jazz. (17.5/20)

A2 "Mountain in the Clouds" (1:51) more display of Miroslav's youthful exuberance (he was only 22 when this album was recorded) with matching support from Jack DeJohnette. (4.375/5)

A3 "When Face Gets Pale" (7:38) a much more melodic and soothing dynamic from more processed (electric) sound palette, both Herbie and John softly and beautifully dance around on the wings while Miroslav sprints his seven and a half minute marathon. The drums remains more in the background while Joe Henderson doesn't even make an appearance. A much more pleasant listen than the previous two songs but I am still pretty surprised at the speed with which Miroslav thinks he needs to move in order to express himself. A top three song for me. (13.5/15)

B1 "Infinite Search" (6:49) slowing things down even further--even Miroslav himself!--Jack even relegating himself to brushes--it is Herbie's excellent, dreamy chord play that I most love about this song--though I do enjoy Miroslav's bass play when it's at this tempo: he's quite melodic in his play. Fascinating how John McLaughlin--the John McLaughlin--can discipline himself to sit in the background playing two notes over and over! But, I guess that's what the song calls for. Once again there is a notable absence of any saxophone. A top three song, for sure. (13.75/15)

B2 "I Will Tell Him on You" (11:00) sax and bass present the main melody near the start while everyone else tries to support, but then Miroslav takes off: racing toward some finish line that nobody else can see. Jack DeJohnette does the best at feeding off of the bassist's unbound energy but Herbie is also well-matched in his support. Joe Henderson and John McLaughlin don't get to spend enough time on the front lines, but are also up to the task when asked to join in--in that frenetic fifth minute, for example (Go! Jack!) And then, for John, the sixth and seventh (in which Miroslav is amazingly restrained despite still speeding along on autodrive). Herbie's solo in the eighth minute sounds so much like mice scurrying over the floor on their nighttime escapades, then being interrupted by the pouncing cat. Even Jack gets some spotlight in the ninth and tenth minutes. This song must have been the reward everyone received for showing up for these recording sessions. When everyone comes back together at the end of the tenth minute it is to recapitulate the melody themes of the opening minute. Good though still quite "traditional jazz" in both form and style. (17.5/20)

B3 "Epilogue" (6:57) a gentle, atmospheric closer. With jazz and jazz-rock fusion I am not always such a sucker for the slow and spacious songs or passages, but there is something quite arresting to Miroslav's melodies and the band harmonic constructs that I can really pick up on during these slower passages--something that penetrates deeper when there is space and time with which to process and let them reverberate and resonate. My other top three song. (14/15)

Total Time:

B+/4.5 stars; a near-masterpiece of pre-adolescent Jazz-Rock Fusion.

The atrocious cover design notwithstanding, this is a pretty good fusion album.

It seemed in the seventies that Czech bassist Miroslav played with just about everyone. I am particularly fond of his performance on Larry Coryell's "Spaces" album. But he is best known for his work with Weather Report.

Here, he has assembled his own band, most notably featuring John Scofield and Kenny Kirkland. The pieces are good, but not terribly adventurous. And although this is Vitous' band, except for the piece Guardian Angels, the bass isn't really featured on the album.

The first half of the album, aside from the song mentioned above, appeared to be geared to feature soprano sax player Mabumi Yamaguchi. He's actually quite good. And Vitous' acoustic bass playing is nice as well, but none of the songs catch fire.

The second half is more electrified. Vitous switches to electric bass (where he plays with more fire), and John Scofield's guitar helps quite a bit.

It's not easy for me to review this album (on PA). Music there is great but far from what prog fans would like to hear under " jazz rock" tag. Only a real progressive fusion fans can easily imagine this album's content when I will say that year is 1976 and Vitous collaborators on this album are Herbie Hancock, Airto Moreira and Jack DeJohnette (between others).

Nearest shot is Headhunters, and Hacock's keys sound very similar there. Vitous plays guitar beside of bass there, but his main contribution is groove deep dark funky bass line. All music is quite similar to Headhunters sound of similar time, but even if Hancock's keys sound is easily recognisable, main accent is done on rhythm section there.

It's interesting, that even playing similar pure jazz-funk, because of specific rhythm section album often has almost zeuhl groove. Many songs have vocals, something between funky/pre- disco ones, but even voices are more jazzy, than soul-like.

In all, distilled product of early progressive jazz-funk era, this release really is a strong one and should be placed between best Hancock solo releases of same genre. Not recommendable for fans with allergy to funk vibes though.

My rating is 3+.

Miroslav Vitous is known for many as co-founder of Weather Report. He played with the band first three years and gone when WR turned to more funk/commercial direction. After he played jazz with Corea,Stanley Clarke,released some albums on ECM.

After his many years with interest to electric/electronic sound, he returned back to acoustic bass there. I've seen similar program as recorded on this album playing live by duo of Vitous and his regular collaborator Swiss trumpeter Franco Ambrosetti a year before this album was released. To be honest, I wasn't impressed too much that time. But there, on this recordings Vitous and four supporting musicians play excellent music.

First of all, there is no direct connection with Weather Report music at all. If Vitous years in WR was time of their innovative electric sound, this solo release is fully acoustic. But by it's free atmosphere and strong feeling of innovative sound this album could be really compared with WR first albums.

And it's really great how after all these decades Miroslav didn't miss that spirit of adventure, even when music he is playing is far not so innovative or experimental as genre. But in this album he shows his great acoustic bassist form and even better experimentalist soul, containing free jazz with contemporary, and his music being of free and not too structured form sounds there as real classics.

This excellent release is far from any form of fusion or jazz rock and contains music,oriented to free jazz fans mostly. So think twice before paying for it, but jazz adepts will find there tons of great music.

My rating of four stars is based on the assumption that the listener considers the confluence of jazz-rock fusion, disco and almost Zeuhl-like Magma-ish material, from a pioneer Miles Davis Alumni, of interest to a progarchives denizen. Admittedly, it's hard for me to imagine how this album might come across to a modern listener who didn't live through the disco age, the Miles late 70's electric period, and the Prog heyday of the mid-late 70's. The closest modern reference I can think of (minus the disco era vocals) is Squarepusher's "Music is Rotted One Note". I was notorious for toting the vinyl of this album with me circa 1977, and subjecting my friends to it. I found it's mix of booty shaking grooves, funky Weather Report and Miles-like textures, and spaced out background vocals to be a stand out of the era, and still enjoy listening to it today. If your taste in prog encompasses the jazz-rock and funk experiments of the mid 70's, Magma, or even the Japanese Zeuhl expressions of Koenjihyakkei and Bondage Fruit, I'd recommend giving this album a listen. Miroslav Vitous may not be a prog icon, but he certainly is a major figure in jazz and fusion history, and this particular entry should interest those with a broader interest and definition of what constitutes *prog*.