SAND

While former band-mate/collaborator Bill Bruford spins the MIDI technology now available through his Simmons drums, Allan is busy exploring the same through his new SynthAxe. The results are incredibly similar with both confusing ears and eyes by producing unheard of sounds (both "acoustic" and synthetic) from their favored instruments, respectively. On this album Allan demonstrates that he's finally figuring out how best to use his new favorite toy.

1. "Sand" (5:25) solo SynthAxe used to generate the intro (now, this is the way I always felt the SynthAxe should be used!) Chord play continues after Jimmy Johnson and Gary Husband have joined in. Hey! This is working! At the three-minute mark Allan uses his Axe to generate a pleasant solo over his rhythmists. (Too bad the sound mix is so odd: it's as if Chad and Gary and the Axe chord progression are coming out of the boom box while Allan is playing his lead solo in the room by himself.) Still, this is a much better/more successful blending of the "gifts" of the SynthAxe with the contributions of a more traditional rock support crew. (8.5/10)

2. "Distance Vs. Desire" (5:17) Now this is more like the ideal format for experimentation (and delivery of such to a remote listening audience) of the SynthAxe. Quite similar to the guitar-and-keyboard sound and textural experimentations done by Pat Metheny and Lyle Mays (only I think this is all Allan). (9/10)

3. "Pud Wud" (6:43) Allan piddling around on his SynthAxe for three minutes while generously letting his posse have some free-play time (nice work both Jimmy Johnson and Gary Husband), but then he steps into the front with his "old Allan" guitar to steal the show. He yields to Alan Pasqua for one fine keyboard performance (at least, it feels like a real keyboard, not the SynthAxe) before weird-noising it to the end.(8.75/10)

4. "Clown" (5:14) more weird noises conveyed through the SynthAxe. At least Allan's getting a bead on what works with a support band cuz this definitely works with Chad Wakcerman's drums and Jimmy Johnson's fretless bass. In fact, this might be the best SynthAxe-led song I've heard yet from Allan (or anyone, for that matter, including Chuck Hammer, Lee Ritenour, and Roy Wooten). (9/10)

5. "The 4.15 Bradford Executive" (8:28) A synth-pop take on Peter Gabriel's "We Do What We''re Told"? The SynthAxe chordplay is actually quite cool--even pretty, but Chad Wackerman's accompaniment over the first 2"40 is totally unnecessary. (The song would have been much better if Allan were left alone for that opening section). But then "old Allan" shows up and Chad's reactive interplay become's quite appropriate--even perfectly complementary to Allan's work. (17.25/20)

6. "Mac Man" (4:02) Allan's welcome and to computer-generated/programmed sound and song construction/production. If there's one thing we should applaud Allan for it's his openness to new technologies and ideas. (At least at this point in his life/career.) Very cool song! Definitely one of my top three. I find it amazing how similar the parallel tracks of Mssrs. Holdsworth and Bruford were at this point in their lives/careers. (9.25/10)

Total Time: 35:06

After the fiasco that was his previous album, Atavachron, I think Allan was figuring that out how and where the SynthAxe should be used (as well as who and what it should/could be used with). Thank heavens. All we have to do, then, is wait for his next album to see him really get back into the full realization of his genius and potential.

B+/four stars; an excellent addition to any prog lover's music collection.