SCHOOL DAYS

Stanley's highly-regarded sophomore release, his second as a band leader and principal composer, serves well to continue to cement his legacy as one of the greatest bass players of all time.

1. "School Days" (7:51) drums and bass chords open this one before Ray Gomez' horn-like treated electric guitar solos. Interesting in a very heavy RTF/rock 'n' roll way, but there's something missing: it all feels like an (over-)extended intro until the bridge at the end of the second minute. David Sancious' synth play is rather unique. The scaled-down (bass chords removed) passage from 2:45 to 6:45 allows for Stanley to start up, escalate and realise a pretty impressive electric bass guitar solo (four minutes long!). Also, drummer Gerry Brown is a pretty good foil for Stanley's play. Interesting end with Stanley humming over the piano. (13.33333/15)

2. "Quiet Afternoon" (5:09) a gentler, more pop/radio-oriented tune that is based over Stanley's piano play and Steve Gadd's distinctive drum sound (soft toms and bass drum). Stanley uses his piccolo bass for some soloing despite the presence of his standard electric bass play in the rhythm track. David Sancious gets some extended time for some MiniMoog soloing in the third and fourth minutes. Interesting--and melodic in a Minnie Ripperton/Maria Muldaur way. (8.875/10)

3. "The Dancer" (5:27) nice percussion-rich song with Milt Holland, Ray Gomez, Gerry Brown, and David Sancious playing around within the busy weave. Nice but nothing extraordinary. (8.75/10)

4. "Desert Song" (6:56) John McLaughlin on the acoustic guitar gives Stanley the inspiration to perform a SHAKTI-like bowed double bass solo within the first 1:45 of this acoustic duet. He then drops the bow for some amazing straight bass in the third minute. John finally gets his turn on his newly-created (by master luthier Mirko Borghino) scalloped- fretboard acoustic guitar around 3:15. Along with Milt Holland's congas and triangle, the song progresses very much like a Shakti song--but Stanley and John's rapport seems to really work: it seems very easy and sympathetic. Stanley takes back the lead again at 5:15, returning to his bowed bass for the rest of the song. I can't help myself: I'm such a sucker for this kind of music. (13.5/15)

5. "Hot Fun" (2:55) a little foray into funk-rock--including some extra support from strings and brass. Fun! Stanley can definitely play funk! (8.875/10)

6. "Life Is Just a Game" (9:00) orchestral support for a cinematic piece like a contemporary film theme song (one that would run through the credits at the end of the movie). Billy Cobham, George Duke, guest on this one with Charles "Icarus" Johnson on guitars. Something is missing from this song--from all of the performances: a kind of cohesive enthusiasm for the song. Some of the performances are impressive (though not Icarus Johnson, or Billy Cobham [his drums are recorded with some weird effects--perhaps through is Moog 1500], or even George Duke--and the orchestration seems excessive and perhaps unnecessary.) (17.5/20)

Total Time 37:18

I just don't connect with Stanley's musicality: his compositions, melodies, arrangements, and vision do nothing for me except augment my already-healthy respect for his virtuosity as a bass player.

B/four stars; a nice album to continue our appreciation for Stanley Clarke, bassist extraordinaire.