JOHN HACKETT & NICK FLETCHER

Speaking of which, the explosive launch of 'Overture to the Cosmos' spares no moment in blasting into orbit with a vortex of thunder and lightning, with coarse electric guitar blasts propelled by the intense Nilles concussion, solid bass boosters and atmospheric keyboard colourations. Breathtaking piece of havoc. Once flung into the stratosphere, time for a stage release into a jazzier realm, floating at warp speed into the unknown, a perfect opportunity for Bainbridge to show off his considerable piano skills and Nilles to show her subtle side. Fletcher enters the fray with a blistering rock solo that takes over the laid-back platform and vaults the arrangement into a real happy place, a perfect synthesis of the two styles at play. Visions of smiling musicians suspended in zero gravity. Change of pace with the moodily introspective "Ziggurat of Dreams Part1", a tasty intermezzo of colourful bluesy picking that straddles the jazz and soundtrack realms with just the right amount of reflection. A sensational segue into the complex madness of "The Fifth Parallel", a polyrhythmic cauldron of jazz-rock insanity that should make Jeff Beck smile from up above, a rather incredible drum display from Anika that boggles the mind. Fletcher flutters like a bumble bee in heat, screeching and pleading notes out of his instrument, egged along by Harries and Bainbridge. Where did I leave my oxygen mask? The shift back to colour and restraint is obvious on "Aphelion", where the playing regales in a classic jazz-rock setting, a style where all the complexity is made to sound rather liquid and carefree. Ridiculous chops by all involved, case in point Bainbridge delivering a deliriously fluid piano that has a elegant Oscar Peterson feel, while Anika kills it on the kit. Needless to repeat that Fletcher roams like a seasoned world-weary traveller, dropping notes with impassioned glee.

After a brief and settling "Ziggurat of Dreams Part 2", the stunningly robust "The Helix" is another turbo powered boost, starting off fairly innocuously with some twirling flickers of the wrist upon the six strings, a clear showcase of Fletcher's talent and mastery of tone, winking with admiration at the defunct Holdsworth and Beck (two of the GOATS) and as befits a spiral, it swirls into insanity like a tornado gone berserk. Not necessarily heavy but most definitely solid. Musicians out there will twitch in awe. Impressively cinematographic, this track "To the Stars We Shall Return" is the beginning to the crowning achievement on the set-list, a perfect companion to Santana's legendary jazz-rock masterpiece 'Caravanserai', offering the same sweeping, sandstorm-incrusted camel ride through the broiling Sahara, escorted by Middle Eastern percussives and headed in the direction of India, where "The Journey to Varanasi" awaits. This 7 minute + extravaganza is worth the purchase on its own merits, a mesmerizing hurricane of sound and fury, taking the Santana feel right into the Mahavishnu realm. Sizzling, molten lava guitar, played with unreal velocity and contrasting tonal restraint is a jaw -dropper. Add John MacLaughlin to the list of applauding fans! Might as well throw in Gilmour and Hackett, while we are at it.

How about some beauty to finish off this amazing recording, what with all the sizzle and fizzle, there is nothing more gratifying that a tender 'au revoir' and "Standing on the Edge of Time" does the 'denouement' (one of Lazland's favourite words) thingy just absolutely perfectly. Plato will also be happy. If I may, Nick, if you read this, please, MORE albums like this, same crew!!!

4.5 Roman Philosophers

Just listen to the opener to get the picture of what I'm saying: the thing starts with an almost heavy riffage by Nick Fletcher, and then the vocals kick in, wrapped in effects to ensure their presence in the mix. The result is great to my ears, even when it's not "classic", that's to say, there are no epic vocals riding over the band's proceedings. They rather contribute strategic brushes on a pair with the transverse flute, and the electric & acoustic guitars.

The overall sound of the album fluctuates (in a very natural and likable way) from Jazz-Rock/Fusion to Neo-Prog. If you want to taste the instrumental contributions of the flute and some electric guitar soloing, try track 3, A Time In Place. For more traditionally constructed songs, please go to tracks 6 and 8, Mist On The Lake & Sign Of The Times.

An album made with taste and talent by a dedicated group of musicians.