JAZZ ROCK/FUSION

1. "Horni konec dolni konec" (4:07) two motifs, one funkier than the other and containing some nice dueling between trumpet, flanged electric guitar, double bass, and keyboard synth. (8.875/10)

2. "Cervanky" (4:47) slow and reflective with delicate yet-nuanced performances from all of the musicians. The music keeps getting stronger, more dynamic (and, melodically, more 1960s game show-like) over the course of its almost-five minutes. (8.75/10)

3. "Osmikraska" (5:49) opening with some bowed electric bass (or cello) that has a very interesting effect plugged into it, the song then launches with the whole band moving into a great bass-and-drum-led groove with horn section. Great syncopation from the drums and bass while guitarist Zdenek Fiser solos and Fender Rhodes player Pavel Kostiuk supports. Trumpeter Michal Gera takes the next turn in the lead while bassist Frantisek Uhlír does some interesting moving around beneath. Bowed electric violin (or cello) gets the next turn before the band comes back together to recite the collective melody line with the horns fully involved. Cool song! (9/10)

4. "V klidu a pohode" (4:23) ominous melody line to open this slow, ruminative song of suspicion and paranoia. A little too herky-jerky for my tastes. (8.75/10)

5. "Sextant" (4:43) even though the title here seems to give a nod to Herbie Hancock, I hear a predominance of Mahavishnu Orchestra with Jan Hammer-type Moog soloing. (9/10)

6. "Cumulus" (5:03) a nod to Billy Cobham's "Stratus"? a very quirky and interesting song making footprints in several j- r fusion camps: funk, technical, Smooth, experimental, and (9/10)

7. "Riko" (4:45) smooth jazz with some admirably-tight whole-band playing--especially from the multiple instruments proposing the melody together. My favorite song on the album. (9.25/10)

8. "Povidlove hody" (5:26) from the start this sounds like an experimental practice étude--like one of the band's warm up songs. (8.5/10)

Total Time 38:58

Very solid and nicely rendered performances of solid Jazz-Rock Fusion compositions.

B+/four stars; an album of Jazz-Rock Fusion that is, I feel, actually better than its score indicates. I recommend you try it for yourself--especially if you're into Jazz-Rock Fusion.

After releasing two digital albums containing pieces that were composed in a long time-line, Louhivaara made his CD debut with this one compiling compositions from both Sinputus (2020) and Karmiekonytisti (2023). All instruments --guitars, bass, keyboards, software, drums -- are played by Louhivaara who's also responsible of producing, recording and mixing. The result is very, very good from the technical point of view. He's among the most convincing one-man bands I know.

Many track titles have witty wordplays that I'm not trying to explain to non-Finnish speakers. With 14 tracks all more or less oriented to nearly ADHD-ishly playful writing style highlighting the complexity and technical ambition, listening to the entire CD through gets rather exhausting. I'm not exactly sure if the best pieces come in the beginning or is it just that my ears and mind are getting tired. 'Sinputus' (the longest one at 8:39) is pretty impressive, and also 'Lirpsutus' has nice dynamics. 'Kaiutus' is a little mellower in comparison, at least partly, and would't be a disgrace at all on Pekka Pohjola's albums of the 80's or 90's.

While I like the fast, Zappa-esque xylophone/vibes parts on 'Leidit Aivan Kiinassa', it's durig this very track (No. 4) that I already begin to feel tired and start to think that this music is a bit too much for the brain and far too little for the heart, if you know what I mean. The waltz-like elements on 'Valssaan ja Poraan' are fairly amusing. 'Kujerrus' contains also a sax-sound in its diverse arrangement. Nevertheless, the further I listen to the CD, the more I start questioning whether I honestly, wholeheartedly enjoy this music. New sonic details keep coming -- for example Eastern influences on percussion in the final piece 'Allihuuppa' -- but the overall approach stays very much the same, ie. very restless, without moments for a rest and in benefit for the emotional dynamics of the whole. There are no truly memorable melodies either. This is why I'm rating this CD in the middle ground.

1. "Жиги-Жиги (Девушка) / The Girl" (3:42) great jazz-rock fusion rhtyhm lines with jazz-rock horns and odd 1960s- sounding group vocal singing of folk/ethnic music. (9.25/10)

2. "Туни Деря" (5:28) another set up of great, amazingly tight jazz-rock funk fusion. Then, at 0:42, everybody clears out so that an electrified traditional stringed instrument (balalaika?) steps in to solo for the next minute. It feels as if the band is all there, sitting and watching with the utmost respect as their elder tells his old tale. At 1:45 electric guitar and then drums and bass start to join in. When everybody's back in, the band sounds as if they're channelling the Mahavishnu Orchestra. By 3:00 the music has settled into a Latin-sounding rhythm pattern over which several male vocalists begin singing what feels like their traditional (Arabian) call-and-response vocals. Electric guitar takes the next solo in the fifth minute. These vocals almost sound West African! It just illustrates to me how small the planet really is-- how linked are human musical traditions. (9.5/10)

3. "Акжа Кепдери / White Dove" (4:03) opens like an old blues (maybe blues-rock) song from the 1960s with full band playing low and slow while expert jazz guitar and tenor sax play with Elvis-like male vocal crooning with deeply ambiguous feeling: He's obviously expressing deep feelings; Is he sad or happy? (9/10)

4. "Восточный Сувенир / The Oriental Souvenir" (4:58) heavy rock-based music opens this one sounding like something from Larry Coryell or some Latin percussion band. Wonderful sax-marimba interplay after the bridge in the beginning of the second minute. Eventually Stanislav Morozov's sax and rest of the band drown out the tuned percussion as the band drifts into a more smoothly-flowing motif for Stan's sax to continue his wonderful soloing. Bass and drums are outstanding, as are horn section accents and banks. I'm sure that Don Ellis would be proud! (8.875/10)

5. "Кечпелек (Баллада о судьбе) / Bitter Fate / (The Ballad of Destiny)" (7:08) more Arabic-sounding vocals with some electrified oud-like instrument and percussives supporting with flurries and flourishes. After 90 seconds the rock support solidifies in a slow, dirge-like rhythm track with Hammond, electric bass, and straight-time drums. The oud- like electric guitar continues throughout all this, even when the liturgical singer cuts out, leaving a trail of perfectly tremoloed melody lines up to the odd break and transition starting at 3:55. Bass and drums get to start the next very- Andalusian-sounding section as the full bank of horns joins in. The vocalist returns, continuing in a form and style that seems to connote religious fervor. Great bass and horn play with and beneath the singer. Once he cuts out more impressive Don Ellis-like play ensues. I swear that finish is Latin American! (13.375/15)

6. "Ялан / Cheating" (2:44) part Latin/Herb Alpert-like music, part obvious local ethnic traditional music--with support of Hammond organ and horn section. (8.666667/10)

7. "Коне Гузер / At the Old Creek" (4:15) electric guitar and electric piano support the impassioned ethnic vocal of one of the outstanding lead vocalists (wish I knew which one). Great latent tension hiding within this one--tension that the electric guitar, bass guitar, drumming, and saxophone do their best to release to the wind. So many textures and emotions conveyed in this masterpiece. (9.75/10)

8. "Арманым Галды / Separation (Parting)" (3:12) opens like a traditional South American song before turning to jazz- rock at the end of the first minute. GREAT bass, drums, rhythm guitar, and horn section work beneath the lyrics that just gets better between the vocal sections. Wow! These guys can really play! (And this lead vocalist can really sing!) (9/10)

Total Time 35:30

I've heard that Gunesh's next album, released in 1984, is even better than this one!

A-/five stars; a wonderful display of traditional/ethnic music blended seemlessly, no, virtuosically, into rock and jazz- rock and Jazz-Rock Fusion forms. Definitely an experience I highly recommend for all prog lovers.

1. "Clear Air Turbulence" (7:35) atmospheric opening with butterfly-flutes suddenly burst forward with a somewhat- funky bass-led rock motif over which Ian sings (with some growling poorly-effected vocals). Reminds me of one of Jean-Luc PONTY's hyperdrive songs from the same era. Around 2:30 it suddenly slows way down for a different motif. Bass and drums are quite impressive in this section with nice electric piano support. (13.25/15)

2. "Five Moons" (7:30) solo flute opens this before Fender Rhodes takes over. Ian's treated, John Anderson-like singing joins the electric piano before the end of the first minute. At the two minute mark the full band joins in with a bombastic burst of sound but then calms back down to Fender and voice after only 25-seconds. Too bad for Ian's effected voice cuz I can't really get a sense if he's a good singer (his melodic choices are nothing to write home about). The bass is about the only element of this song that is not rock--that is kind of jazzy--though maybe the dreamy Fender Rhodes qualifies at times. It's a voice like Steve Hillage uses on his first couple solo albums. (12.875/15)

3. "Money Lender" (5:38) purely a rock song with Ian going off with some raunchy stereotypic rock singing. The music is also pure two-chord rock though horn section and jazzy bass somehow work into the song's foundation. It sounds a bit like GRAND FUNK RAILROAD with Mel Shacher in the lead. The secondary motif in the third minute is pleasant and melodic in a pop-jazz way. The rest is pretentious (unless, I suppose, you take stock of the message of his lyrics). (8.6666667/10)

4. "Over The Hill" (7:14) nice Cauca-funky bass, drums, and rhythm guitar within a driving rock-vocaled song. Some of the best musicianship of the album. Great keyboard solo in the fourth and fifth minutes. Too bad about the vocal. The moslty-instrumental second half of the song contains some great music but then Ian's "Smoke on the Water" vocal rejoins. (13.375/15)

5. "Goodhand Liza" (5:24) hand percussion opens this one for 30-seconds before bass and drums join in--voice at 0:45. Whole-group vocals join in with keys and rhythm guitar over the cruisin' conga play giving it a kind of STYX or feel. Interesting and not bad instrumental passage in the fourth minute before John Gustafson starts a STANLEY CLARKE/ RTF-like bass chord sequence at 4:00. Off set by cat-like synth sounds, John's bass and Mark Nauseef's play out to the end. (8.66667/10)

6. "Angel Manchenio" (5:17) almost a variation of QUEEN's "Another One Bites the Dust." Nice guitar and keyboard performances. The work of the steady, fast-drivin' rhythm section eventually hypnotizes the listener into liking it--as well as the THIN LIZZY-like twin-melody-making of the guitar and Fender Rhodes. (8.75/10)

Total Time: 38:38

Despite jazz elements (mostly coming from the wonderfully-talented bass player, John Gustafson), this is not Jazz-Rock Fusion, not even jazz-rock; it's just rock 'n' roll. Why the guys decided to allow their identity to be lead by their singer (who, I'm sure, had little to do with the writing of the album's music) I do not know. I guess the dude had star power-- "name recognition" as they say.

B/four stars; a nice addition to any rock-oriented prog lover's music collection.

1. "Angosia" (10:15) funky bass and drum line runs through the whole five-part jazz-rock suite. Excellent drumming and composition but the bass line gets rather old. The lead instruments over the top (flute, trumpet, electric guitar, electric piano, and reverbed voice)) do a pretty good job of distracting as do the accent horns in the third motif. (17.75/10)

2. "Beyond The life" (5:11) excellent emotional song sung very powerfully by Robert. Impressive guitar play from Giorgio Cocilovo but excellent sound and play from Tuccio Garofalo on electric piano, bassist Silvio Condemi, and Robert on drums. Beautiful Smooth Jazz. (9.75/10)

3. "All Recomposes" (5:24) a more symphonic approach to jazz pop. Sounds like a cross between Donovan and Greg Lake-led PROCOL HARUM. Robert really does have an excellent, very emotive singing voice. The song builds beautifully after Robert finishes singing the first verse, eventually climaxing in a kind of "Space Oddity" finish. (9.5/10)

4. "Nature And Transmigration" (18:32) this seven-movement suite starts out very atmospheric/pastoral for the first two movements--like a classically-formulated song, but then it gets funky with the arrival of the fifth minute. Flute solos over the first minute of this movement before Robert starts to sing, then electric guitar gets a turn to solo. The fourth "chapter" or movement starts at 6:57 and flattens out into more-Mahavishnu-like speed sprint with Hammond organ dominating the first minute but then turning over the reigns to electric piano while electric guitar shreds and bass and drums drive the song forward. At 11:18 we subtly shift into yet another motif--this one more rock-driven with the Fender taking the first solo over the hypnotic bass and hard-driving drums. When the trumpet takes over in the lead position the bass drops down an octave or two while Robert's drums get a little more adventurous. Some stop-and-go staccato play in the final portions of this allow Robert a little more show-time before settling into a slightly different pattern to support more electric guitar lead play. The sixth "chapter" finds the band settling into an-almost Canterburian rhythm for some silliness, but then, after a little Mont Campbell-like singing, everybody shifts gears to into some more jagged, angular jazz musicianship. The seventh and final "chapter" finds us listening to a flange- effected drum solo. Nothing here is quite as compelling or quite as beautiful as the other songs on the album. That third "chapter" is the best one here. (34.75/40)

5. "Passagio" (5:15) opens with a flange-effected drum solo (a continuation, obviously, of the previous song)--one that starts out impressively but then gets too simplistic. Eventually, the rest of the band joins in and establishes a kind of poppy STEELY DAN-like motif over which Griogio solos on electric guitar before and between Robert's charged singing. The guitar solo eventually sounds just like The Eagle's at the end of "I Can't Tell You Why" (sung by Timothy B. Schmit). Another beautiful song! (9/10)

Total Time 44:37

An incredibly-well recorded and produced album--especially considering its self-recorded and self-published history-- and a surprising one for its infectious melodies and skilled musicians.

B/four stars; an excellent little gem plucked out of obscurity for any prog lover historian.

1. "El caminant nocturn" (8:21) Fender Rhodes chord play is soon joined by bubble-effected bass and militaristic jazz drumming before synthesizer and electric guitar step in to take the lead. Lots of stops and goes, lots of rock and prog-sounding riffs and passages give this an almost NOVA-like feel, though something about it also reminds me of The MAHAVISHNU ORCHESTRA's last album, Inner Worlds. We've definitely entered the gratuitous world of commercial J-R Fuse that Herbie Hancock's Thrust and Return to Forever's Romantic Warrior opened up to the world. (17.5/20)

2. "Càntics de la carn" (11:18) so like the music that Chick Corea was doing with Leprechaun, My Spanish Heart, and The Mad Hatter that I had to keep checking as I was listening to this to make sure it wasn't something from him, Al Di, or a hidden RTF album that I'd missed! Excellent performances top to bottom (despite Kitflus' rather schlocky and now-dated array of keyboard sounds). (18/20)

3. "Riu d'agost" (7:41) piano and acoustic guitar opening that sounds suspiciously like something from Al Di Meola and Chick Corea. Even the sound engineering seems perfectly imitative of some of those earlier RTF albums (not Romantic Warrior). At 1:45 the full band breaks the spell of the acoustic duo and launches into a long bridge before settling into another Latin-rhythmed dance tune. The lead instrumentalists retain their acoustic orientations while bouncing back and forth between 10-to-20 second bursts as soloists often bridged by patches in which they play together. Quite a nice, light and jolly, and impressive song of instrumental prowess--and such tight, whole-band feel coming from the quartet. (13.5/15)

4. "Embrujo" (6:14) yet another song in which the band lets their ethnic roots come shining through--though once again expressed with incredible virtuosity and intuitive interplay. These guys are really gelling! And Max has never been more effusive! (9.25/10)

5. "Crisàlide" (6:30) piano and acoustic guitar open this one until 1:20 when searing Al Di MEOLA-like electric guitar ushers in the rest of the band. This complex, never straightforward song offers some great bass playing as well as tight disco-ish drumming with Kitflus' DEODATO-like bouncy Fender Rhodes play when Max is shredding up front. (9.25/10)

Total Time: 40:04

A-/4.5 stars; a near-masterpiece of Second Wave Jazz-Rock Fusion approaching the Smooth Jazz era.

1. "Sentiments" (1:50) wonderfully potent atmosphere that begins to deliver big time with the MAHAVISHNU-like finish. Wow! Great start! (5/5)

2. "Andalusia, Andalusia" (5:37) such great sound coming from the drums, hefty electric bass, and joaguín "Max" Sunyer's Al Di Meola/Corrado Rustici-like electric guitar! It builds and forms, and fills the sonic landscape just like a RETURN TO FOREVER tune. Keyboard maestro José "Kitflus" Mas has a sound palette and style that is to my ears more similar to that of JAN HAMMER than Chick Corea--and there's nothing wrong with that--though his keys are often oddly mixed just behind the other band members. Still, Kitflus and Max keep us mighty entertained with their lightning-fast runs performed in perfect synchrony. Great first full song even if a bit overly RTF. (9.25/10)

3. "A Sevilla" (5:13) another very powerful and dynamic rock-infused funky jazz song that owes much to RTF but also to Mahavishnu Orchestra and Weather Report despite its roots in Spanish folk melodies. The "dirty" sounds of the bass and electric guitar are understandable for giving the song a little edginess but Much of drummer Jordi Colomer's play reminds me of Lenny White but there's also some flashes of Cobham and even Bruford in there as well. (9/10)

4. "Ball De Les Fulles" (5:30) a song whose sound palette for some reason reminds me more of MAHAVISHNU ORCHESTRA or even GEORGE DUKE than the previous stuff. I'm not a real fan of Max's very "dirty" almost fuzzy guitar tone but I can find no fault with his play. Kiftlus' mastery of clavinet might just be more impressive than his Fender Rhodes play. Primitivo Sancho's bass playing is solid if mixed a little too open on the low end and Jordi Colomer's drumming is as masterful as ever. (8.875/10)

5. "Magic" (6:23) human-made dog barking and other sounds open this one up until a coaches whistle announces the real start to the song: a delightfully funky affair that presents some very engaging melodies amidst some quirky sounds and riffs. The funk bass seems quite reinforced and perhaps even enhanced by Kitflus' clavinet while Jordi's drums hold a pretty steady Billy Cobham-like beat but it's the keys that are definitely the star of this show! Nice, tight, easy-going. (9/10)

6. "Joguines" (3:00) a song to show off Max' prowess on steel-stringed acoustic guitar as well as Kitflus' on piano. There's still electric bass and Oberheim-like strings but it's a nice change up from the fire and smoke of the all-electric stuff.Plus, there are some very pretty lines and playing from both Max and Kitflus. (9/10)

7. "Alegries Del Mediterrani" (9:17) this one takes the listener on a musical journey that is surprisingly smooth and melodic--especially the first three minutes. The band tries to go full-speed RTF in the middle section but ends up crossing more into GEORGE DUKE or UTOPIA territory--except for that amazing drummer: Jordi Colomer is definitely on another plane of consciousness throughout this section! At the six-minute mark the music takes another detour, starting with a rather raw and raunchy bridge that opens up into another more smooth and melodic motif similar to the opening, only this time guitarist Joaquín Sunyer shows up with a laser sword to cut and slash his way through and over the rest of the band--at least until the final minute when everybody returns to the second full-speed motif. Nice finish! (18.5/20)

Total Time: 35:50

Though nothing on this album quite lived up to that pretentious proggy opening title song, the rest is definitely of incredibly high caliber and worthy, as a whole, of mention along side some of the greatest J-R Fuse albums of the mid-1970s. The instrumental virtuosity is all there, now the only step left for these guys is the full integration or "fusion" of the band's four members into one, fully synchronized and entrained unit making music that is holistic. That is what the next album (and, sadly , their last) will put on display. An amazing "arc" of growth to behold: self-awareness and enthusiasm turns into self-discovery and, then, finally, self-realization.

A-/five stars; a minor masterpiece of dynamic and hard-drivin' Jazz-Rock Fusion taking its inspiration from the likes of Return To Forever, The Mahavishnu Orchestra, and other masters of the domain.

1. "Preludi I record" (2:14) sounding more like a Journey or schmaltzy FOCUS song of the Mother Focus period, there are even West Side Story references to what feels like anthemic music. Weird! I'm not even sure I would call this Jazz- Rock Fusion! (4.25/5)

2. "Nova (musica de la Llum)" (8:56) music that is both cinematic and proggy enough to warrant comparisons to bands of the time like SANTANA, YES, and even Todd Rundgren's UTOPIA. Nice drumming display (if a bit sophomoric) in the fifth and sixth minutes. They're trying so hard to be top-tier prog--or J-R Fusionists--but are just not there yet. (17.5/20) 3. "L'acustica (referencia d'un canvi interior)" (9:10) opening with a sound palette and choatic playing style that reminds me of the early songs and albums of GONG, NOVA, and STEVE HILLAGE. At 1:45 a new motif starts with some out-of-tune reverb-guitar arpeggi and electric piano notes. At 2:45 the full band finally comes together into a gorgeous space-proggy motif that reminds me of one of the early Canterbury artists (like EGG) wherein acoustic guitar and piano take turns soloing over The music and performances are so simplistic compared to what will come ahead on Sentiments and Arc-en-ciel! And the sound engineering is awful compared to what's ahead. In the end this is a pretty prog song showing a band of ambitious young musicians on the rise. (17.75/20) 4. "La d'en Kitflus" (6:49) despite the cheesy synth strings and Fender Rhodes play, here is the first song that begins to encroach the possibilities of Jazz-Rock Fusion--though there are just as many symphonic elements employed: It reminds me of early FOCUS. Some very impressive guitar and synth synchronized runs here and there! The lumbering bass-centric motif in the fourth and fifth minutes is as mystifying as it is cheesy. Again: some brilliant ideas that the band (and producer) are just too young and inexperienced to turn into fusion (or prog) gold. The skills are impressive but they're still learning how to best display and express them. (13.125/15)

5. "La flamenca electrica" (5:56) sounds like a continuation of the previous song; as if the band is using these song ideas to figure how to best express their talents instead of trying to make the composition their primary focus of their expression. Interesting and very skillfully layered but lacking the sounds from their instruments as well as the engineering acumen (or equipment) to pull off some great sound. (I'm often wondering if these were demos that never reached the finishing/polishing stages.) Again, great skills in development and aspiration; they're just not there yet. (8.75/10)

6. "A Valencia" (8:45) a song that seems to be based on working on the mastering of a borrowed riff: like any student of classical music, you work with études and other practice vehicles in order to perfect your chops as well as your musical foundations. That is exactly what this song feels like--especially with its "Never Been Any Reason" HEAD EAST sound palette. There's even a couple more styles to work on in successive motifs within the song. Nice to hear Jordi's drum skills put on full display in the final motif. (17.25/20)

7. "11/8 (Manifest de la follia)" (6:54) the first of the band's songs on which I've heard a little of the Latin flavors that will continue to grow and take over their playing sound and style. Definitely a song reaching for RETURN TO FOREVER territory--and almost successfully doing so! You go, Guys! You'll get there! (13.375/15)

Total Time: 48:44

The band has definitely not evolved into its masterful RETURN TO FOREVER sound nor the incredible cohesion and synchrony of Arc-en-ciel yet; the band's engineering, compositional, and performative skills are just not up to the speed and skill level necessary to pull off those next couple albums. Give 'em a year!

B/four stars; an excellent tier-two contribution to the lexicon of progressive rock music from a band that is still finding its way, still experimenting with its preferences for style and sound (as well as still growing their skills). It's worth listening to, but if you want the peak of this band's output, seek out 1977's Sentiments or 1978's Arc-en-ciel.

1. "Mind Transplant" (4:05) hard drivin' rock with a lot of funk reveals a side of Alphonse that I do not know! Impressive but issuing no memorable riffs, melodies, or solos to make it memorable. (8.75/10)

2. "Snow Bound" (3:05) another impressive rock-oriented album that kind of goes nowhere. (8.75/10)

3. "Carbon Dioxide" (4:38) great drumming beneath those rock guitar riffs from the very opening. When the musicians settle into a flowing groove at 0:45 Tommy Bolin gets to lead into the melody, but then there is a dramatic tempo shift around 1:30 that leads into a very-JEAN-LUC PONTY-sounding high-speed chase passage in which Tommy flies around the fretboard with the more-than-adequate support of second guitarist Jay Graydon. Jerry Peters's Hammond B3 gets the second solo but it's oddly mixed behind everyone else. (8.875/10)

4. "Ascorbic Acid" (3:26) impressive drum opening that leads into a song structure in which Alphonse's snare hits feel off-center, making for a kind of odd distraction throughout. On this song Lee Ritenour gets front billing while Jerry Peters plays some pretty awesome Fender Rhodes beneath. I really admire the incredible tightness of all of the musicians' performances. (8.875/10)

5. "Happiness Is Loving You" (4:09) a bit slower and more melody-oriented, it's another excellent twin-guitar exhibition--though Lee gets the credit as the guy with all the solos. Not a great song but it does have catchy melodies and some pretty great nuanced double-guitar work between Jay and Lee. (9/10)

6. "Some of the Things People Do" (3:40) vocal screams at the beginning let one know that we're in for a Afro-funk song that sounds very much like the recent music coming from EARTH WIND & FIRE (without the horns) or KOOL AND THE GANG and/or THE OHIO PLAYERS. Alphonse's singing voice is okay--he's got plenty of confidence and swag--it's just not a great pop song. (8.75/10)

7. "Golden Rainbows" (6:56) a spacey, cinematic song in the vein of the stuff JEFF BECK, THE ISLEY BROTHERS or NARADA MICHAEL WALDEN will be doing. Nice. (13.5/15)

8. "Nitroglycerin" (3:03) as the title indicates, this one is pretty explosive: more from Alphonse and bassist Henry Davis as much as from the twin guitarists and Jerry Peters. Sounds a lot like Jeff Beck's "Freeway Jam." (9.25/10)

Total Time: 33:06

An album that is most impressive for the dominance of its hard-rockin' lines and sounds to me more like the music that would be coming out of bands like RUFUS and

B+/4.5 stars; a near-masterpiece of hard-drivin' jazz-rock fusion.

1. "Palm Grease" (10:37) using simpler structures, simpler melodic hooks, simpler more pop-oriented rhythm patterns, Herbie turns his music into a product that is more oriented toward the entertainment of the masses instead of something trying to impress the traditionalists. The musicians he has chosen to surround himself on this one are, of course, incredibly solid but also carry that single-minded vision of serving the masses and thus help in producing eminently listenable, enjoyable, and danceable songs. Great drumming from Mike Clark and great bass play from Paul Jackson while Bennie Maupin and Herbie test all the funk sound boundaries with their futuristic sounds. (17.75/20)

2. "Actual Proof" (9:40) with the smooth synth strings and floating flute, this one crosses both the Stevie Wonder-like funk and Bob James-like Smooth Jazz worlds despite the wonderfully funky bass and clavinet play. From a keyboard- perspective, this song lets me know that Herbie had heard Eumir DEODATO's hit-generating music from Prelude. From a bass and drums perspective I can hear that Paul Jackson and Mike Clark had been hearing the stuff that Buster Williams and Stanley Clarke as well as Billy Cobham and Lenny White were doing since the Bitches Brew sessions; just stupendous play from both of them! One of the coolest funk-laden Smooth Jazz songs you will ever hear! (19.75/20)

3. "Butterfly" (11:17) awesome late night cabana smooth jazz with Bennie Maupin's bass clarinet and saxello carrying a lot of the melody load--but from the back! Herbie sits back with his synth strings supporting the scene for the first two minutes before revealing his clavinet and Fender Rhodes while Bennie solos. The drums, percussion and bass are simple--like a good R&B rhythm section in relax and groove mode throughout Bennie's two-plus minute solo. Herbie takes the next extended solo--for the next five minutes!--on his Fender. Lovely. What a great earworm of a bass riff! At 7:00 Herbie moves to his clavinet for a bit and, with it, the band into a great funkified variation of the main theme before he returns to a more vibrant solo form on his Fender. (19/20)

4. "Spank-A-Lee" (7:12) an exercise in pure funk à la the recent STEVIE WONDER work (think "Boogie on Reggae Woman"). The four rhythmatists are wonderful--and obviously having a great time grooving with one another, but from the one-minute mark on it's really the Bennie Maupin show and I'm not really a sax man. While not as catchy or melodic as the previous songs, it is still demonstrative of some mighty high talent. (13.375/15)

Total Time 38:46

I think that humble, uber-talented bandleader Herbie Hancock here demonstrates that he is finally convinced that his keyboard playing can be front and center--as the main attraction--and that all of the funk tendencies taking over the radio waves and technological advances going on in keyboard instrumentation needed tending to--and advantage taken of. While I loved his 1960s work and his Mwandishi period, I am LOVING this stuff WAY more!

A/five stars; a certifiable masterpiece of Second Wave Jazz-Rock Fusion and one of my favorite albums in the J-R Fuse lexicon.