REALIZATION

1. "Scorpio-Libra" (11:12) opens immediately with a funky Isaac Hayes "Shaft"/Bitches Brew pretentiousness that is immediately winning due to its cocky arrogance. It's spacey yet still jazzy, free form but mapped out, and full of musicians sounding like they're really having fun. Patrick Gleeson's play on synths and organ sounds so loose and liberating and I LOVE the two drummers! Billy and Lenny both bringing their best, playing with and off of one another. Herbie, of course, is so solid on the Fender Rhodes but he's mixed a little too far into the background (until his solo in the seventh minute). And Bennie Maupin and Eddie just playing their hearts out. Great stuff! (18.5/20)

2. "Mars in Libra" (8:40) sounds very much like the same foundation as the previous song with much wilder performances from the soloists, more dynamic and independent energy from the drummers. Space music in which the pioneers are exploring deep dimensions of the universe. I can tell the boys are having their fun but I personally find that I'm kind of done with Buster Williams' bass line that's holding it all together. Then it all just kind of ends: no ceremony or gravitas just ... done! Weird. (17.5/20)

3. "Anua" (8:30) opens with bass and drums, long-sustained flue and keyboard notes with crazy-wind synth sounds flying around just beneath the surface. Eddie's muted and unmuted horn joins in, takes the lead as the band solidifies its support beneath. It's a beautiful weave of full whole-band chords with incredible leadership from Buster Williams' double bass. The dreaminess of the foundational music reminds me of Freddy Henderson's Love Connection a few years down the road as well as many of the Crusader's Joe Sample's and Huber Laws' solo albums from the time. Beautiful stuff that could easily exist without the soloists on top--thought there are some dreamy solos in the seventh and eighth minutes. (despite the drums getting a bit drowned out by the cymbal play). (19/20)

4. "Spiritual Awakening" (2:33) synth-generated "water"/"bird" noises over which Eddie ejaculates his horn and riffs while the rest of the band just floats and flit in and out of the sonic field. (4.375/5)

5. "Revelation Realization" (8:00) really smooth night groove from the bass with double horn tracks on top and the two drums and keys pushed way down in the mix. I know this gives the listener much greater access to the fine bass and horn play, but then we have to listen that much harder to pick up the nuances of the two amazing drummers. Fender Rhodes and Bennie Maupin's bass clarinet get brought forward somewhere in the third minute. Everybody (except Pat Gleeson's continued synth play with constantly panning water and wind sounds) is contributing some truly beautiful melodies. So nice. The dénouement is long (almost 2:30) and a bit too drawn out for my tastes. A weird but, at the same time, wonderful song. (13.75/15)

Total Time: 38:55

I know that one of the reasons I like this album and its successor, Inside Out--as well as the last two of the Mawndishi albums, Crossings and Sextet--is due to the presence and influence of synthesizer expert Patrick Gleeson. Patrick's contributions to Lenny White's Venusian Summer--making that five out of the twop 30 albums in Classic Era Jazz-Rock Fusion--make me think that his genius plays no small factor in my coming over to Jazz-Rock Fusion 1972-75.

A-/five stars; a minor masterpiece of spacey jazz-rock from the Mwandishi lineup.

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