MAHAL

1. "Butterfly" [Herbie Hancock] (8:05) a remake of the Herbie Hancock "classic" (even though it's only four years old) with its creator taking part in the modernized version (as well as several Mwandishi alumni and Bennie Maupin who was one of the original Headhunters, too!) I love all of the innovative sounds Herbie, synth specialist John Bowen, and guitarist Ray Obiedo are employing to funk-up and "modernize" the song. So funny to have these songs re-covered A) so soon after their initial entry into pop consciousness and B) by members of the original lineup now four years "older"! LOL! It's even been discofied a bit! Though it is definitely different than the original, it's still a great song. (Perhaps its just one of those songs that you can never ruin no matter how you choose to approach it.) (14/15)

2. "Cyclops" [James Mtume] (5:18) Eddie and his record company felt good enough about this song to have released it as a 45-single! It's definitely catchy--like the instrumental ear candy that many jazz fusion artists were turning toward at this time--before Jazz-Rock Fusion was being spilled over into Smooth Jazz, Disco Funk, Adult Contemporary, Yacht Rock, 80s R&B and Hip-Hop, and even New Age. It feels as if the piano chords in this song were lifted directly off of the master tapes for the 1984 Soul/R&B hit song "Hey DJ" by The World Famous Supreme Team. It is a great, fun, highly enjoyable listen. (9.333/10)

3. "Emotions" [Eddie Henderson] (4:59) gentle yet sophisticated with Paul Jackson's bass notes and bass harmonics forming much of the foundation with percussive drum play turning to full kit use in the second minute. Eddie's flugelhorn lead is quite melodic--quite like hearing a human voice pronounce its words quite intentionally. The involvement of the rest of the band seems minimal, other than Herbie's Fender Rhodes. (9/10)

4. "Prance On" [James Mtume] (5:16) another Mtume song that falls right into the Disco world that James would stick with throughout the 80s, there are CHIC-like clavinet, rhythm guitar strains, and background synth "strings" accents and flourishes that would become absorbed and exploited fully by Michael Jackson's songwriting/production crew from here (Off the Wall) through Thriller, but the bass is all disco and novelty Funk-Soul/R&B. Overall, it's a little too drawn out and monotonous. (8.875/10)

5. "Amoroso" [Bennie Maupin] (5:38) interesting funk R&B with some novelty sounds covered by some great percussion and trumpet play. Using a fairly dull, straightforward drum "program" the syncopation comes complete from the horns and bass teaming up to carry the melodic rhythm track while Herbie and muted Eddie solo among the flurries of other contributors sneaking in their inputs. (8.875/10)

6. "Mahal" [Eddie Henderson] (4:27) I'm not sure where Eddie was at this time in his life but I find it interesting that the three compositions credited to him on this album are all rather slow, gentle, and tender. Love? Loss? Sadness? Transition? How does the doctor use his music for therapy? There are wonderfully tender inputs from Herbie (muted clavinet), John Bowen (Oberheim strings), Julian Priester, and Paul Jackson on this lovely little tune. (9/10)

7. "Ecstasy" [Eddie Henderson] (3:25) dreamy Mr. Rogers' Neighborhood-like fairy dust coming from Herbie's JOHNNY COSTA-like Fender Rhodes is the only support Eddie uses to express his ruminative mood--like something from FRANK SINATRA's masterpiece of late-night regret, In the Wee Small Hours, or Freddie Hubbard on several of his song remakes on next year's The Love Connection. I really like contemplative songs like this: makes me think that some humans (without the aide of alcohol) are really thinking about their lives. A rather beautiful duet but not really anything contributing to the expansion of the Jazz-Rock Fusion idiom. (8.75/10)

Total Time: 37:08

A-/4.5 stars; a near-masterpiece of Third-entering-upon-Fourth Wave Jazz-Rock Fusion that illustrates that Eddie (and Herbie) are still committed to continuing to push the boundaries of that which is possible for the movement.

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