JAZZ ROCK/FUSION

The names of two of the other members rang a bell for me: trumpetist Palle Mikkelborg whose solo album Song... Tread Lightly (2000) I've enjoyed, and pianist/percussionist Kasper Winding: I used to have a single in which the composer and multi-instrumentalist collaborates with vocalist Murray Head on 'Please Don't Leave Me Now' (taken from a 1985 soundtrack album The Flying Devils). But back to the subject. Entrance (1977) is the group's debut album, roughly 36 minutes in total, containing eight pieces of rather regular length. The composition credits are shared by Mikkelborg, Winding and Knudsen, but I have no access to writing credits for individual pieces.

The opener '543' is a funk-flavoured lively piece quite typical for the late 70's fusion genre. Synths are very central in the sound. Very dynamic 'Parapella Dance' has a lot going on with several instruments playing solos. 'Poor Kathy' features quite intense synth soloing. I bet 'Glassprince' was composed by Palle Mikkelborg: his trumpet is at the centre of the sound and the spacey atmosphere reminds me of his aforementioned solo album.

Also 'Italian Slides' and 'Cream' bring mellow nuances to the energetic album. The latter is a short, calm piece focusing on bass and almost New Age-y synths. The album is closed by 'Tropical Song' which is coloured by bizarre vocalising. The slightly hollow production is perhaps the weakest link when estimating how well this album has stood the test of time, because there's so much of better produced instrumental fusion music to be found. But an enjoyable album nevertheless, and for the compositions it stands proudly against the bigger names of the era. In the end there's rewardingly less of the funk flavour than on the bulk the typical late 70's fusion. Recommended if you like proggy fusion with plenty of synths.

Well, we have soft pop tunes impeccably played, fluid, and conventional (i think of Rikki don't lose that number, which is a nice ballad).

Oftentimes, we have what I would call standard rock-soft songs, pleasant to listen to, fast-paced and I noticed some chorus similar to Crosby, Stills, Nash (we can feel it, especially in Rikki Don't Lose That Number and With a gun).

And some off-the-beaten-track tunes like East St Louis, a pure traditional instrumental that seems out of place but is very welcome as an interlude (Btw, it is the single jazz-grounded track on this album), or intimist song ( Any Major Dude Will Tell You), or a saddening ritornello (Charlie freak).

Overall, it is a very pleasant album to listen though it contains several songs appreciable but unmemorable ( Night By Night, Barrytown or Parker's land) and others more atypical, more "hidden".

This is not so jazzy, kinda soft pop/rock. I saw a wink to Chicago Transit Authority, same period, similar style, in the eponym song Pretzel Logic, but excepting that, it fails to fall into the category of jazz rock for me.

I'll give this album a 3 with the desirable critic of rather an ordinary album but nice to listen to plus a few real gems.

DON ELLIS (1934 -- 1978) was an American jazz trumpeter, drummer, composer and bandleader. He experimented especially with time signatures, and later in his life he composed several soundtracks, the best known of those films being The French Connection (William Friedkin, 1971). Often his albums are big band oriented with lots of brass, and in this sense Haiku is a unique work. Actually it's pretty unique in the whole jazz genre. The ten Ellis originals are "based" on Japanese haiku poems and feature a large string orchestra (ie. violins, violas and cellos) plus harp, behind the leading instrument which is naturally the trumpet played by Ellis. There are also guitarists, keyboards and a rhythm section involved, but on some pieces their roles are relatively small. On some tracks such as 'Parting' the rhythm section is more present, but always in a peaceful manner.

The music is extremely mellow, relaxed, starry-eyed romantic and introspective. The arrangements by Ellis himself are excellent in their harmonic smoothness. Perhaps the music is at times almost too sentimental for its own good -- or then not! Naturally it depends on the listener's point of view. I wholeheartedly appreciate this album for being proudly what it is. Listen to 'Mirror-Pond of Stars' or 'Two Autumns' for example, and you know why I used the words starry- eyed romantic.

Also the track titles reflect the nature-inspired serenity: 'Blossoming', 'Cherry Petals', 'Summer Rain', 'Dew', etc. To whom this music is best recommended? To romantic minds who appreciate introspective melodies and relaxed mellowness, and who enjoy the sounds of the trumpet, harp and softly played strings, and who are not straight away put off by sentimento. Very beautiful music to soothe your mind and make you feel dreamy and romantic.

I'm continuing my expedition with less reviewed jazz/fusion artists in our database. American jazz guitarist BILL CONNORS (b. 1949) played on just one [ Chick Corea's ] RETURN TO FOREVER album, Hymn of the Seventh Galaxy (1973), before going his own way and Al Di Meola becoming RTF's guitarist. Debuting in the legendary ECM label with Theme to the Gaurdian (1975), he made a bunch of albums in the seventies and the eighties, up to Assembler (1987). Then a long break. Aptly titled Return (2004) is still his latest album. It seems he never quite received the status he definitely would have deserved, and that's underlined by the fact he's still usually referred as a one-timer Return To Forever member.

This music is very much the kind of jazz/fusion that I wholeheartedly enjoy. The guitar is sonically comparable to PAT METHENY, my fave jazz artist, and other instruments of the quintet playing on this album are acoustic piano, bass, drums and percussion. The co-musicians are no familiar names to me, but I really enjoy their fresh and mellow sound. Bill O'Connell's elegant piano fits brilliantly together with the guitar and is very equal with it, too.

Pieces such as 'On the Edge' and 'Mind Over Matter' are very charming compositions full of life. The virtuosity never becomes self-indulgent, not even in the most complex and fast moments, there's always the fluent flow in music. In the beginning of 'Mr. Cool' Lincoln Goines on bass gets the spotlight. The slightly slower piece 'McMinor' brings valuable variety in the mood, although it could have been more openly romantic. After nine pieces composed by Bill Connors the album is closed by a mellow, beautiful version of John Coltrane's 'Brasilia'.

Return is a finely written, played and produced, post-bop oriented jazz album very easy to enjoy if you like e.g. Pat Metheny. There may not be absolute superb highlights that really move you emotionally, but no weak or boring moments either. A perfect balance between melodic mellowness and energetic vitality and virtuosity. In a word: excellent!

The overall sound is virtuotic, lively, energetic and meaty, due to a large ensemble (keys, guitars, trumpet, percussion, drums), and Caron's bass is very much upfront. So if you're fond of the instrument and jazz/fusion emphasizing its role, you certainly can't go very wrong with Alain Caron. Now some words on chosen pieces.

'The Bump' is a nice upbeat opener with a happy, laid back feeling. With all the shiny solos, this music would be cool to experience live in a warm summer breeze. 'Fat Cat' indeed has a cat-like coolness. For the rather restricted melodies it's mostly sort of a dialogue between trumpet/cornet and keyboards, leaving plenty of room for bass soloing. 'Little Miss Match' -- with a witty wordplay on the title -- is in a relatively calm tempo. Sounds like the main melody is played by saxophone (not mentioned in the album info here), but again it's the bass solo that steals the show. But boy it really sounds good! Only on some Pekka Pohjola compositions I remember being equally impressed by the instrument.

'I.C.U.' has a happy groove typical for this entire album. While most of the tracks are approximately 6-7 minutes long, the funky 'Cherokee Drive' stretches to 8½, despite being perhaps among the least interesting ones as a composition. On 'Flight of the Bebop Bee' the nicest solo is for an electric guitar which could have had a bigger status on the album, as well as keyboards. 'Donna Lee' is the most electrified and the most bass-centred piece. Virtuosity as a pure self- indulgence. I'm glad that the closing piece 'Intuitions' is beautifully serene, melancholic and introspective (mostly just piano and bass), because the album whole leans heavily on the outgoing funkiness and remains rather mediocre when it comes to songwriting itself. But perhaps because of the great closing piece I'm generous enough to round my 3½ stars upwards.

'Aurora Del Sur' is very beautiful, but sad instrumental where most of the melodies are played by sax, but there is also great flute playing. In 'Dai Moneda' the album mood changes, it's almost too cheerful to me. But it has also some really great melodies. In 'Blue Jay' direction changes again back to the same as in the first piece. Really touching instrumental track! 'Desde El Jardin' is sounding traditional Argentinian piece with very modern production. Sadness & beauty continues in 'Danais'. 'Nubecita' is again very positive piece and can be too much for the people who hate typical South-American folk music. I like it! 'Desde El Silencio' is really impressive, there you can imagine to be in the middle of Amazon! Next 'Tatunu' continues in a same, really moving direction. In 'Tierras Colorades' we go again into positive moods, but this time music hasn't got so much typical South American feeling, but very relaxing and melodic. What a sad, moving melodies then in 'Para Que Jueque Jo'! Also this piece has some great rhythm changes. In 'La Flor Del Ceibo' you can imagine to lay in some peaceful shore. 'South- American' mood comes back in 'Te Digo Si Te Digo No', where sax leads it to jazz direction. 'Ven Amada Ven' is absolutely profound ending into this album! Can't help tears come into my eyes!

I really love this instrumental album as every other Arco Iris records I have heard! But have to say production is a little bit clean and cold sounding and that was the reason at first this great music didn't achieve me. As the most of Arco Iris albums, this is all the way folk prog, not at all jazz rock / fusion. Well yes, sax is the main instrument playing in a very virtuoso way. Anyway to proglovers I recommend to listen 'Agitor Lucens V' instead of this album, because 'Desde El Jardin' is one of the lightest albums of Arco Iris. These songs can easily put for example in elevators, they really don't irritate in any way. But naturally quality of 'elevator music' would rise a lot! I believe this album work well to the last album just before sleeping time. If this really will be the final Arco Iris album, it is a good swan song from the magnificent band!

Guitarist Gary Boyle was born in India, 1941. In the early sixties he attended the Leeds College of Music in the north of England. Before releasing his solo debut album in 1977, Boyle had played and recorded with many kinds of artists, e.g. Dusty Springfield, Bert Jansch, Keith Tippett and Stomu Yamash'ta, and had founded his own fusion group Isotope in 1973. So deservedly his solo career got a good start: he was voted New Star in the Melody Maker Poll and his debut The Dancer won the Pop/Jazz Award at the Montreux International Jazz Festival.

Step Out is Boyle's third solo album. The line-up consists of himself (guitars), Paul Birchall (keyboards), Gary Culshaw (bass) and Graham Dean (drums). There are also some Scandinavian guest musicians involved, most notably Stefan Nilsson on Prophet-5 synthesiser. The album was recorded in Denmark if I'm not mistaken. The opening piece 'Jeanie's Dance' is light-hearted funk-jazz. The basic groove stays pretty constant except for some happy little bursts with semi- soloing. 'Numb Thumb' is also based on a funky groove, and especially the keyboard solo feels delightful. 'Step Out' continues in the similar fashion. The rhythm section plus percussionist Jacob Andersen do great job and the staccato piano playing makes you smile. Some of the 36-minute album's eight compositions perhaps lack the final spark. Boyle's guitar is of course always there but often in a very democratic spirit.

Finally on 'Periscope' the electric guitar steals the show with fast and virtuotic soloing. 'Fuchi Cé Pesta' has a Latin feel in its fast tempo. At this point the listener probably starts to crave for something mellower, and the wish is fulfilled with beautiful 'Thinking of You' featuring lovely flute work from Björn J:son Lindh. My countryman Jukka Tolonen and his more romantic compositions on albums such as Summer Games would serve as a good reference. 'Gitte' is the other number to feature the flute, albeit in a smaller role and in a lively funk groove environment. The final piece 'So Many Times Before' is a slowish song featuring Gary Boyle on vocals too. His vocals are very pleasant and the relaxed, slightly romantic song is a great way to end this enjoyable album.

This album isn't the most original creation of its genre, but it's warmly recommended for the friends of funk-flavoured fusion. 3½ stars rounded down for the shortness and a slight feeling of sameness in the groove especially on the a side. But nevertheless this is a happy listening with excellent musicianship.

1. "Indigo" (7:15) one of Al's compositions, from his 1993 release World Symphonia - Heart of the Immigrants. Great stuff! Should/could be a top three song? but there are others! (14.5/15)

2. "Renaissance" (4:32) a classic Jean-Luc Ponty song previously introduced to the world on 1976's Aurora album-- before Jean-Luc had become a household name. Hear performed so beautifully with Al and Jean-Luc really shining as Stanley keeps immaculate time. A top three song for me--mostly for the beautiful melody and rhythm structure. (10/10)

3. "Song to John" (6:00) originally composed by Stanley with Chick Corea back in 1975 for Stanley's Journey to Love album. It was originally composed for John McLaughlin and his "new" scalloped guitar that he was using for his Shakti albums and performances. Al's Django Reinhardt treatment of the supporting strumming is incredible--as is his MIDIed lead. Then Stanley gets his say in an incredible solo in the second half. These guys aren't old: they're in their prime! The original is incredible--with lots of space for feeling the power, but this new, amped up version is just as great in its own way. (9.5/10)

4. "Chilean Pipe Song" (6:12) another Al song (he was really, really into Latin American music in the 1980s), Jean-Luc, and especially Stanley add so much. (9/10)

5. "Topanga" (5:50) a Stanley composition--perhaps written or offered just for these sessions as I can find no previous record of it ever being recorded. Man does Stanley's bowed bass dig deep into the heart strings! Great support and contributions to The Man from Al and Jean-Luc. A top three for me. (10/10)

6. "Morocco" (5:45) Al's third and final contribution to the trio--from his 1991 studio release, Kiss My Axe. Gorgeous textures and soli with not enough of a core to distinguish it much from any other jazz jam. But, damn, the performances are fine! (8.75/10)

7. "Change of Life" (5:30) the second Jean-Luc contribution, another song that I can find no previous record of so could very well have been offered to the trio for this and only this recording. A nice pastoral romp through the country side--on a horse-drawn, open air carriage. Such a smooth, relaxing song--with such amazingly dextrous, finesse-filled performances. Such a privilege! For sure a top three song! (9.75/10)

8. "La Cancion de Sofia" (8:30) the third Stanley contribution, this one from Slow and almost plodding, the spaciousness gives lots of room for flourishes and incidentals. Then, at near the halfway poiont, we have a stop and reset: a fast-paced race with the Devil ensues. Again, we're in the territory of such hallowed giants as Stéphane Grappelli and Django Reinhardt. An odd song but, again, we are so privileged to be in the company of these virtuosi! (17.5/20)

9. "Memory Canyon" (6:00) Jean-Luc Ponty's final contribution to the trio, another song whose lack of history leads me to beleive that it was a song Jean-Luc gifted to his pals specifically for this recording. (8.5/10)

A/five stars; a certifiable, undisputable masterpiece of virtuosic Jazz-Rock Fusion and definitely an album that belongs in every prog lover's music collection! Easily my Album of the Year for 1995.

As one would expect from a modern contemporary production a lot of electronics are available too here. Also, when listening, you may immediately emphasize the fantastic guitar work that is present throughout, this all provided by Italian born Vincenzo Lamagna. The album initiates with some Pink Floyd feeling, but soon a Tony Williams Lifetime incarnation or so will take the lead. Very nice start! Then the charming downbeat lounge tinged One Whisper follows. Actually, not a surprise really, the title track definitely delivers some grief, sadness. An irresistible beat, upright bass, mysterious voices, and swirling flutes are making Babylon Everything to something special. Finally the groovy extended Pharoah's Scribbled Phantasms puts the cherry on the cake. Headed by Daniel Biro's free-spirited Herbie Hancock inspired keyboards this production is a real listening pleasure.