STREAMLINE

Band that belongs. Or, it works to participate in other musicians' works. The item of Jazz/Fusion that was the main current might have had all the researches and the discussions as people's opinions in the especially 70's. It is a well-known fact that musicians to whom "Bitches Brew" of Miles Davis announced for the fan of Jazz/Fusion in 1969 was actually active in the surrounding also had the influence.

Various elements are gradually absorbed and musicians begin to establish an original route to Jazz in the especially 70's. Of course, the establishment of own music character might been improved as one drum player who is related to the production of "Bitches Brew" also of Lenny White. In it, the result of pursuing the establishment of the directionality at which each musician should aim in the flow of Jazz/Fusion that derives gradually in the 70's and extends and the self concentrating and having been collected at the time of the 70's are also true. Musicians who surrounded the situation in addition to the part of the music character and the technology might have been indeed exactly inclining zeal to the creation and the exchange.

Lenny White appeared in New York on December 19, 1949. He had taken an active part working with Jackie McLean at the time of the latter half of the 60's. And, it participates in the recording of "Bitches Brew" that Miles Davis announced in 1969 of the above-mentioned. And, the participation of "Return To Forever" might have become establishment of one music character for Lenny White in the item of Jazz/Fusion that represented the 70 year.

Some bands and groups that exist for item of Jazz/Fusion. The action of the music that has been especially caused in the band and the group and the route and directionality besides the chemical reaction often appear to the Solo album of the musician who is related to the flow. Of course, the element was not to have limited it to Jazz/Fusion. However, the flow and the exchange that especially surrounded Jazz/Fusion might have been indeed active.

Lenny White announced the Solo album with the shape that ran side by side with the activity of Return To Forever. The music character to listen by "Presents The Adventures Of The Astral Pirates" that had been announced as a result in 1978 was a part where the idea and the technology that cultivated it on business of Return To Forever were followed. And, this album produced at the same time might be a work with which the area of width of the music of Lenny White, the age, and the expression method are exactly blocked.

The point that should make a special mention as an impression of this album might be a point to have appointed Larry Dunn to Producer. Larry Dunn is known well on business of EWF. Jamie Glazer that joins Jean-Luc Ponty after this album also contributes well for the tune. Or, it is a sense of existence of active Marcus Miller as the musician of belonging exclusively of GRP. Or, the point to have appointed Diane Reeves that was still unnamed at that time. As for these exchange and appointment, I can feel a good flow and the sensibility to make music an embodiment. Because Larry Dunn does the work of production, the part of a few POP and Funk might be being united as an overall impression by Jazz/Fusion. This album with the content to take the age there well has the original directionality that exactly mixed well while following the music character of Return To Forever the technology and the taste of Lenny White and was expressed.

"Struttin'" makes Groove that Bass, the guitar, and the rhythm are complete. The melody of the guitar has gone out ahead. The obbligati with the transparent feeling that the keyboard makes exactly catches the age. The flow of complete Groove might keep the atmosphere of good Fusion. The progress of Chord with the tension and making the sound have originality.

"Lady Madonna" takes strong Groove to original music and advances. The song of Chaka Khan produces good atmosphere and the technology having it. The arrangement also has boldly taken the atmosphere of Groove and Fusion.

"12 Bars From Mars" shifts from the part of the voice processed by the effect to the part of intense Jazz Rock. Ensemble by the musician might be splendid. The idea of a technical composition in respect might follow peel Return To Forever. Their originality ..extending Jazz Rock.. has finished in complex development however.

"Earthlings" is Jazz Rock/Fusion that produces a good, transparent feeling. The song and the chorus twine well for Groove and are expressed. The part of a few POP and Funk will twine because the color of Larry Dunn has gone out as a result, too. It is atmosphere to which EWF took Fusion further.

"Spazmo Strikes Again" might make the element that connects the album act on the part of easing. The tune that doesn't come up at one minute starts at once and leaves at once. It might be a part of complete Hard Rock.

The line of Bass is taken an active part to "Time". The obbligati and the melody of the keyboard in close relation to Groove contribute well. Part and chorus of song that adds transparent feeling to part of Funk. There might be an element of POP/Fusion. Part of EWF that joined it a little. The idea might be good.

As for "Pooh Bear", the sound of the keyboard runs about the space. The chorus in close relation to cutting of the guitar is reminiscent of EWF. Sound of keyboard with diversity. Part where sound of decoration twined. Development with tension and processing of sound of percussion instrument. Atmosphere continues. The flow is consistent though the tune takes a few changes.

"Lockie's Inspiration" might make the part of the connection of the album act. Coming in succession of the melody of the piano and the keyboard with a clear transparent feeling has good atmosphere.

"I'll See You Soon" starts by the Chord progress that complete Fusion is good. It shifts from the part of Solo of Bass to a transparent feeling of the keyboard and the part of the anacatesthesia. Good Fusion is produced and there might be a part where atmosphere of a few EWF and initial Chic are reminiscent, too. The part where the guitar twines constructs the flow of good Fusion. The repeated theme produces the transparent feeling that you may continue.

As for "Night Games", the feature Chord and the dash feeling of complete Fusion. Melody with unison of Bass and guitar and tensions progressed one after another. Space that keyboard produces. The dash feeling continues. The tune shifts from Solo of the keyboard to the part of the guitar. The speed that each musician makes in union completely receives the top. The tune shifts to the rhythm of the shuffle in the last part.

"Cosmic Indigo" means the end of the album and the part of the connection. Standard Jazz that maintains a complete speed is developed.

The idea of various music is exactly blocked in this album with the part of the song. The content of the Solo album that had been announced for Lenny White in the 70's had the power to go from Return To Forever to "29" of own band.

Ex-Return To Forever drummer's album is very groovy and pleasant one. Larry Dunn ,keyboard player and producer (and Earth, Wind and Fire musician as well), brings his funky r'n'b sound to all songs.

It's interesting, that instrumental compositions all are jazz-rock fusion, with heavy, almost aggressive guitar. But all vocal numbers are r'n'b ( and not the bad one: Chaka Khan and Diane Reeves both are presented on vocals).

Post- RTF Lenny White solo career is often a mixed bag, with long list of commercial releases. But even if not his best solo work, this album really can attract fusion fan. If you are not afraid of some r'n'b in your music.

Overall, quite different album, never boring, combining very quality moments from jazz-rock, funk and r'n'b scenes, but very energetic, groovy.( Contains The Beatles "Lady Madonna" cover).Musicianship is of the high level..

Possibly, more album for funk and r'n'b fans, could be in partial interest of jazz-rock fusion listeners as well.

While "Streamline" is certainly not as accomplished a work as the classic "Venusian Summer", it does merit its own place in Lenny White's discography , as well as being a rather original symbiosis of jazz, funk and fusion, armed with some harsher guitar work, a rather unusual combination that has not been overused to say the least. The list of luminaries include guitarist extraordinaire Jamie Glaser (JL Ponty), famous bass man Marcus Miller and finally Earth, Wind and Fire keyboardist Larry Dunn, who certainly adds to the funky vibe. Guitarist Nick Moroch has worked with Eddie Jobson's Zinc and provides a fair amount of crunch. That being said, this is a tale of two sides, one of pleasure and one of pain. Let's start with the torture first and get it out of the way. The first 4 tracks are painful. There are also 3 mini tracks under a minute that add absolutely nothing to the mix.

"Struttin" is bearable, a pure funk/rock hybrid with a chugga-chugga beat and expected flow. Kind of sloppy, which negates all the value within, as Lenny does this binary beat that lacks any conviction. There is a rather unfortunate rendering of the classic Beatles tune "Lady Madonna" which cannot even come close to the brilliant original, with way too much urban shrieking courtesy of Chaka Khan, a musical Swiss fondue that will make one cringe. The messy and disjointed "12 Bars from Mars" is presumably referring to intergalactic saloons that serve watered down drinks with soggy 'rocks' as this just goes nowhere in a warp hurry. "Earthlings" is sadly even worse, a stringy cheese of disco-inspired yuck, with a pedant vocal from Diane Reeves and a wholly predictable Moroch guitar solo that could have been so much more fulfilling.

Then, out of the blue, the album reverts to what it should have been, a serious jazz-rock extravaganza, though one has to wonder with a strange title like "Pooh Bear" (egad!). But the sweet scat-voiced background gives way to some smoking hot bass runs, a shuffling drum beat and some inspiring moments. Yeah, it's funky but technically sound and adventurous. Cool pickin' on guitar makes this a surprising illumination. "I'll See You Soon" is the longest track and serves up some interesting fare led by a looping bass run, as Marcus Miller is quite the virtuoso, a simple lilt that also fancies a slippery and bright Don Blackman synth solo. A favorable track again. The bass playing on "Night Games" is fully inspired and phenomenal, as if Marcus was the only one on board with this session, a nice Fender Rhodes piano section from Blackman and Lenny finally inspiring his wrists to go beyond the norm.

Not a bad album but not really anything special either. Just interesting. Nowhere near does one approach the effect of "Venusian Summer" and that Beatles cover version should be banned.

3 restructures