JONAS HELLBORG

Absolutely mesmerizing Indo-fusion!

Expanded thots: Hellborg & Lane played phenomenally and at times seemingly beyond human ability -- like banshee djinn wailing riffs and screaming echoes in the night. Each had room to stretch but never hogged the moment -- the concert being fluid, piece meshing one into another. It was in fact -- a bit mystic like a ritualistic song of worship or a cry to heaven. Awe inspiring -- and deepened even more our great loss at Shawn's passing. What a treasure it is to have this record. The Vinayakrams were beyond words to describe -- a magic, a mastery, a delight to see them in their craft on fire with soul.

And as far as the DVD quality -- wonderful, professional, multiple camera angles, fades, zooms, crowd pans, etc, etc all done right. Highest recommendations.

Well, I finally nearly shed a tear during a fusion solo!

Why?

As a struggling guitarist, when you hear what Shawn Lane does live on the cut "Rice With the Angels" off the new Personae -- something just slips away -- any hope of ever reaching the levels that these guys play! Amazing! What a rush!

Lane was burning -- no lasering these coherent beams of sound in ostinato bursts like McLaughlin's MahaOrk 70s style but the ostinato runs were so fast and seamlessly fluid they approached the quicksilver shimmer of Holdsworth's legato explosions. It's very hard to imagine an axeman outdoing Mahavishnu John and Gnarly Allan in one solo but I swear -- I heard it happen in Lane's solo outburst.

And as far as Scott Henderson's bluesy-rock-fallin-down-the-stairs- drunk-n-laughin' axe antics go -- Lane covers all that territory elsewhere on Personae.

I have to admit that I used to own Powers of Ten and also listened to Tri-tone Fascination all by Lane but never really was deeply satisfied with those releases' overall gestalt(s). Personae however -- Whew! -- great stuff. I am now a solid Lane fan.

I highly recommend this release.

The album OCTAVE OF THE HOLY INNOCENTS (which is a mixing of two Christian biblical accounts - "Massacre of the Innocents" referring to the infanticide of Herod the Great and the term OCTAVE which refers to the eighth day after a feast) is a crossroads for the three distinct musical careers passing for a brief blip in time. The album was constructed and initiated by the Swedish jazz- fusion bassist JONAS HELLBORG who after working with the likes of Shawn Lane, John McLaughlin and a whole list of others decided to put together an acoustic trio of performers to cross-pollinate his jazz-fusion style with other musical talents.

On drums is the veteran percussive talent of MICHAEL SHRIEVE, the percussionist extraordinaire who helped usher Santana to worldwide fame when he wooed a new generation at Woodstock as the youngest performer in the entire event. Also on board was some new blood in the form of the strange chicken loving guitarist BUCKETHEAD who after only one album under his belt was already making waves in musicians' circles. This is in fact only the second album he played on in 1993 at the tender age of 24. Instead of releasing the album under a solo billing, HELLBORG democratically gave the album credits to all three participants.

OCTAVE OF THE HOLY INNOCENTS is an all acoustic instrumental affair with five lengthy tracks clocking in over the 42 minute mark. BUCKETHEAD plays exclusively acoustic guitar whereas HELLBORG plays acoustic bass and adds keyboards occasionally. SHRIEVE sticks to a traditional drum set and steers clear of any of the Latin rhythms of his Santana days. The music on this one is primarily set within the context of HELLBORG's style of jazz-fusion progressive chording and virtuosic bass slapping techniques. The tracks are well constructed jazz-fusion pieces that allow extended jamming sessions to let all three instrumentalists strut their stuff.

The fifteen minute opener "Rana And Fara" swallows up a whole third of the album and runs the gamut of extreme placid tranquil build ups that peak and trough and ultimately cede into more technical and energetic workouts. The true technical prowess is displayed on "Death That Sleeps In Them" where all three performers engage in jazz-fusion workouts that are literally melting strings and skins alike and display the newbie BUCKETHEAD more than able to keep up with the big kids on the block. "The Past Is A Different Country, I Don't Live There Anymore" is a much more reflective piece that stretches out to over nine minutes and reminds me of some of Mahavishnu Orchestra's more serene moments which obviously rubbed off on HELLBORG during his days with John McLaughlin.

"Child King" is probably my favorite track on the album as it traverses through flamenco meets jazz type workouts with a touch of Classical Hindustani in the mix. SHRIEVE exercises some of his most adroit drum and cymbal action on this one. "Kidogo" is an energetic closer that shows an exciting tension in the contrast of HELLBORG's bombastic bass compete with the drums while BUCKETHEAD creates atmospheric slide effects and other mind-bending riffage. OMG! This is truly an album of top notch professionals at the helm and they all perform with each other spectacularly. There is not a shred of ego to be felt and each musician perfectly complements the other for the entirely of the album's run. A very exciting stripped down piece of musical art here.

4.5 rounded down

One of my pet peeves when it comes to music is that whole "unplugged" or "acoustic" scene. Im sorry but give me electric instruments with fuzz and power. I just never "got" why there was an appeal to hear an electric album done live but unplugged or re-done in studio acoustically. I'm not into Folk music or traditional Jazz either so I know it's just me. Despite these strong feelings I thought I'd take a chance with "Octave Of The Holy Innocents" by Sweden's own Jonas Hellborg, bass player extraordinaire and this all-acoustic album released in 1992. I was convinced to track this down because it seemed almost unanimous that this record is the cat's ass. They are a trio with SANTANA's Michael Shrieve on drums and Buckethead on guitar. The playing is lights out and beyond reproach from where I sit. The problem is thinking about how good this could have been if they let their hair down and added some electricity to the proceedings. Also I get tired of hearing the guitar strummed with that same tone over and over.

"Rana And Fara" is a good one as the drums seem more upfront and deeper here. The guitar is so intricate and fast at times, it's hard not to be impressed. It calms right down around 4 1/2 minutes as the drums and bass stop and the relaxed intricate guitar continues. It kicks back in a minute later and again the guitar stands out the most for me. The bass accomplishes this as well before 7 minutes then it settles back again as the guitar solos. There's almost silence before 10 minutes then it starts to build.

"Death That Sleeps" has this repeated guitar melody as the bass and drums support throughout. It's pretty good. "The Past Is A Different Country, I Don't Live There Anymore" is a sparse track as it is very relaxed and laid back. I like the atmosphere and deep sounds. "Child King" is excellent as we get tension throughout and I keep waiting for it to explode but it doesn't or can't(hey it acoustic). One of my favourites for sure. "Kidogo" features uptempo strummed guitar, bass and drums for 3 1/2 minutes then we get a calm until it kicks back in around 5 minutes to the end.

I seem to tire of this one quickly yet there's lots to enjoy here. Overall 3.5 stars seems right to me. I really enjoy a lot of this album but for me there's plenty of flaws, at least when it comes to my musical tastes, certainly not in the performances on display here.

This album is quite unique - great Swedish fusion bassist Jonas Hellborg plays with still young and unknown Buckethead and ex-Santana drummer Michael Shrieve as acoustic power trio!

Hellborg is known by his experimental look on what the fusion is, and his bass often sounds not like you possibly expect. Buckethead from another side is controversial guitar player with tons of recordings (of very different quality). Happily there small miracle happened - the music being acoustic doesn't remind McLaughlin-DiMeola-De Lucia trio's sound at all. Sound is sharp and extremely energetic, no Spanish flamenco or even traditional jazz guitar's elements are presented. Music there is pure jazz-rock rooted fusion with all characteristic rock elements!

Musicianship of all three musicians is excellent (I was especially surprised by Shrieve jazzy drumming), compositions are enough melodic and structured with space for improv at the same time. If you like quality jazz-rock with guitar on the border with shredding, and wonder how could it sound in acoustic version - this album is one of the best you can find around!

Possibly one of the most original acoustic jazz-rock album from 90-s.

Unusual acoustic live show by great bass guitarist Jonas Hellborg. With his regular collaborator electric guitarist Shawn Lane (he plays acoustic only guitar there as well) and drummer/percussionist Jeff Sipe (aka Apt. Q-258), Jonas plays almost meditative raga- influenced acoustic compositions there.

Two first compositions under common name The House Stands Still are 30 + minutes long.They both are bass supported acoustic guitar solos with few percussion touches. Very Shakti-like feeling.

Two second (and last) compositions have common name as well (Traces End Here, 23+ minutes).There guitr dronning support soloing acoustic bass."Conclusion", the very last piece, is faster and more energetic interplay between bass and guitar, with very Indian atmosphere.

Excellent acoustic fusion work showing the unusual side of renowned electric bass artist.

Explosive Acoustic Fusion Set Ranging from Good to Otherworldly

Jonas Hellborg has played with some of the best, THE BEST, ever in the last 20 years. It is amazing that some of the most phenomenal modern fusion all comes under his name, yet features vastly different talents and quite contrasting sounds. For OCTAVE OF THE HOLY INNOCENTS, Hellborg enlisted the skills of modern guitar madman Buckethead along with veteran drummer Michael Shrieve (a minor star of the Woodstock festival while playing with Santana.) There are two versions of this album, an original power trio version and a 2003 update which includes gothic choir voices at various spots in the music. I have the update, and unlike some reviewers, I think the voices add to the exotic ambience Hellborg and company create.

I must mention that although I am a guitar shred fan, I am not very big on Buckethead. His signature move is fast chromatic runs both out of time and out of key with the music he's playing. There are very specific instances where this technique makes musical sense, but most of the time it's like an out of place announcement of "yeah it's me, the guy in KFC hat." Fortunately, on this album, all of the playing is acoustic (I believe Buckethead is actually playing a nylon string) and on all but the first song, all of the instruments play much more within the compositions, without the long-form soloing that reveals the individual, rather than collective, musical voices of the band.

This brings me to the difficult aspect of this album. The opening tune, "Rana and Fara," contrasts with the rest of the album sharply. Opening with an almost electronic-sounding beat, the song spans over fifteen minutes and is all over the place. The early drums are extremely out of place with the acoustic sound of the album (? Part of the 2003 redo), and there is way more noodling on the track than on any of the later songs. All three players get extended solos, and Buckethead's are particularly annoying. Again there are a few places where his hammer technique actually benefits the song, but mostly it's his distinctive "look at me, I'm weird" sound. Hellborg and Shrieve's soloing are both nice but unmoving. For me, this track is 2-3 star material.

Then comes the rest of the album, which I would be tempted to rate as masterpiece. These pieces are compositions which use polyrhythms, complex tonality, and intertwining parts to create a dark but colorful exotic sound that is unique to this particular album. The solos exist much more within the context of the song. On "Death that Sleeps in Them," Buckethead's solo spot is tasty and bluesy with just a touch of his "outside" style at the end. His choice to simplify the tonality is brilliant, a musical choice on an abundantly musical album. "The Past is a Different Country" is a slow, beautiful piece where Hellborg and Brian Carroll (his real name, I'm tired of typing "Buckethead") exchange lines with the delicacy of new parents. Carroll is hauntingly restrained, and Shrieve is simple and subdued. The sense of openness in the composition is akin to recordings of jazz singer Cassandra Wilson, simply transcendent.

My favorite track is a fast paced Middle-Eastern inflected piece called "Child King." In perfect contrast with the previous track, the song bristles with excited energy. Shrieve swings away with a superficially classic jazz beat, but adds in plenty of pepper to accent Hellborg and Carroll's fleet lead playing. There is no wankery here, as the players seem to have found enough interest "inside" the exotic scales used. We end with "Kidogo" which has the most harmonically interesting lead motif of the album. Hellborg takes his best solo spot on this one, and the interludes feature intricate, quick melodic lines. In other words, it's a great prog song! The goth choir voices are especially effective hear and send the listener out in a ghostly release of calm. Again, the darkness spun here is neither scary nor cold, it's more angelic shadows of the past, whispers of remembered beauty.

I usually don't dock a masterpiece album for one bad song, but when the artist chooses to lead with that song, and it takes up a proportionately huge part of the album, it's hard to ignore. I actually always skip past the track when I listen to this album, something I rarely do. The album still comes highly recommended. Another Hellborg gem.

The method of the expression concerning music in the album by his name might have appeared remarkably especially in an initial work. There was music of course subjacent in the music character of Jonas Hellborg that had absorbed the element of various music. And, height of the overwhelming technology and a peculiar mode of expression might have attempted the differentiation with other musicians enough.

Jonas Hellborg appeared in Sweden in 1958. Man who had gradually acquired the technology in musical instruments at time in one's teens touched a variety of music characters. Rock, Punk, and Jazz. And, man who had held Jimi Hendrix in high esteem was interested also in the music etc. of Arab.

A technology superior of him was evaluated high. His performance with Mahavishnu Orchestra might have widely informed them of his name of course. Of course, there might have been a field of Jazz in one of the elements of the various music characters of him. However, the music character that had been positively done since the time of especially 1984 also had the peculiar expression that element of all the music characters twined enough and the cyberpunk part also had taken everywhere method.

The initial music character that he had announced might have worked showing all respects. The overwhelming technology advances greatly and, of course, is reflected in the work. Zeal and the possibility to the technology and the music character increased the speed and were done. Especially, the possibility concerning Bass and one challenge to music are done in this album. And, the result of Jonas Hellborg's reaching might be expressed as a content of the album.

The possibility might have been pursued as a theme of the music character to listen in this album. The music expressed only with Bass and the drum doesn't really drop the quality of music. The pursuit of the music done by a minimum unit might be splendidly exactly expressed by the idea and the arrangement.

Anders Nord takes charge of Bass of four bowstrings and five bowstrings. And, it is a musician who makes good use of Bass of ten bowstrings. Jonas Hellborg can be freely devoted to Solo by appointing Anders Nord. Jaime Salazar has been appointed to the drum player. The expression of the overwhelming music is made to act by the rhythm that Jaime Salazar produces. Jaime Salazar participates in work with The Flower Kings after the participation of this album. Power and technology of overwhelming music expressed by this album. Those elements are done enough including the arrangement and the composition.

"Look" progresses by developing a fast rhythm. Exploding Riff that doesn't feel the sound of Bass might be overwhelming. Solo of Bass that moves freely while taking the sound of the decoration everywhere produces a good flow. The sound is processed by the effect as an expression of the album.

As for "Moving", the method of taking Slapping to the rhythm of a complex shuffle is given. The melody of Bass that becomes development of the rhythm that puts fast and slow is overwhelming. The part of harmony and the chopper has acted well, too. The tune shifts to the rhythm of heavy eight. Solo of Bass processed by the effect will be exactly reminiscent of the sound of the guitar.

As for "Dread", the melody of Bass with the anacatesthesia is impressive. Midi-Bass might be used for this tune. The line of Bass in close relation to the rhythm and the anacatesthesia that flows slowly puts out good atmosphere. Jonas Hellborg can be discovered to be able to do the performance with diversity very.

"Dead" is a tune with the flow of Hard Rock. Riff that the Bass player thinks about makes good use of a good melody and harmony as a part where music with diversity is done. The sound of Bass that is reminiscent of the sound of the guitar might be almost overwhelming.

"Nord" might be Rock done in early Passage where Slapping was made good use of. The part of cyber is taken to Hard Rock and it progresses. This album that takes various machine parts and the idea creates music with diversity indeed. The part of Harmonics and the sound and Solo without inferiority even if it is almost called Solo of the guitar might really have the technology.

"Dog BBQ" twines from the theme by Slapping a fast rhythm and progresses. The melody of Bass and twining of the rhythm have the feature. The anacatesthesia and the tension of Solo drawn out from the part that slowed the tempo might succeed. One result of pursuing the possibility of music by Bass enough appears in this tune.

"Dos Tempos" develops intensely from the part of the theme by an anacatesthesia and mysterious harmony. Originality might be included in the flow produced with elements of a few Jazz Rock/Fusion. Solo of Bass that takes an original melody and harmony to a steady rhythm might be splendid. The melody of Solo that can be listened as a sound of the guitar is almost overwhelming.

The melody of "JB" that Bass by Slapping is fast is impressive. And, three (this tune, "Moving", and "Dog BBQ") is reproduced back by "e". Continuousness and the technology of harmony by Slap Bass are produced as individuality of Jonas Hellborg. The part of Syncopation and the performance by Righthand also put out individuality.

As for "Hey Yo", unique Riff twines round the element of heavy Hard Rock. The line of Bass recorded in the multiple and the part of Solo might act on the tune well. The tune progresses while continuing the tension. Playing the drum also offers the technology everywhere.

"ED" starts by Riff of bright Bass. Solo of this tune is almost reminiscent of the sound of the guitar, too. It progresses with stability while taking the element of good Rock.

The creation and the expression of music with one musical instruments might be various. And, the pursuit of the possibility by Bass that Jonas Hellborg had done extrapolated the results as an expression of the sound with diversity indeed with his individuality. It might be an album with the content to establish one road as an idea as the album with a methodology almost near the form of Band.

PURE MASTERPIECE OF IMPROVISIONAL JAZZ ROCK FUSION!This is the main idea concerning any appreciation about one trully fabulous album!There aren't enough words to express the worship that I have for this album!You think worship is a too big word?!Then ENDLESS ADMIRATION is better!This is the most fantastic trio formula in the history of jazz fusion,comparations with RETURN TO FOREVER or MAHAVISHNU ORCHESTER can be done,but the level of musical chemistry that is here,on this live album is stunning!HELLBORG- LANE and SIPE are beyond any musical boundary!They start from a tiny idea , a little musical idea without any core and then the alchemy that exists between this musicians plays an essential role...they feel each other at a level of perception which is almost extra sensorial!It's telepathic and magical!It's almost inhumane the frenzy and sensational capacity of SHAWN LANE to prove some out of this world technical skills,and on this live album he plenty offers magic momets!IT SMOKES LITERALLY!Everything flows in a perfect harmony on this album,and each member is an ace at his instrument!2 tracks of 30 minutes aproximatelly each and some rhythms and breaks,combined styles from free jazz to world music to hard rock tempos and the feeling thet what we hear it's performed live,that's almost scarry!We can hear solos of guitar.bass and drums and we are mesmerized by the capacities of three people to give a collective final result of amazing high quality music!HELLBORG is on this album stellar,as usual we can say... and delivers some slap technique solos that make KO any bass player and SIPE has some interventions ,both technically and musically amazing! Some of the solo's of LANE are almost unreal and unbelieveble to be explained,there are millions of notes and we ask ourselves if this man was from EARTH?Unfortunatelly he passed away from this world too sun,because he burned too fast,artistically speaking!He was before the time in music!I've heard hundreds of guitar players,but each time when I hear SHAWN LANE i am shocked,paralysed,striked!This guitar player was UNIQUE!!! 500 STARS to the most fabulous album of improvisional jazz fusion of all time!DIXIT!!!

The work of Jonas Hellborg that got into the news between fans of Jazz-Rock in the latter the 80's is sent aiming at the world with a lot of numbers. It is guessed that the career of the music of Jonas Hellborg started by the work announced from the label voluntarily made in the early the 80's.

His performance got into the news in Montreux Jazz festival in 1981. And, man who had participated in the reorganization of the Mahavishnu orchestra in about 1984 informed the world of the name with the marvelous technology and the sense. And, competing with various musicians is accomplished.

He accomplishes competing with a familiar, deep musicians such as the CMP label since DUO with John Maclaughlin. And, competing with Shawn Lane is accomplished at this time. The idea after those hybridizations are done repeatedly to the digestion of the genre of various Music listened to before when this album is compared with a past work might appear in the work at this time. His idea and technology as "Bass guitar" player advance greatly.

Famous time might be a work of competing with Yngwie Malmsteen from the album of Silver Mountain for the existence of the Johansson brother known well as this general at that time, eminence in the world. Johhansson brother's acknowledgment level has risen because it rides on the wave with the power of HR/HM in the 80's. However, the brother has them grope for the directionality of music after it shifts to the band of Dio and convert. The Johhansson brother meets Jonas Hellborg at this time.

As for the performance done with this album, the tune in hard Trio is carried out through the whole volume. Musical instruments of the melody keep and the taste of no three going out people keeps previous harmony in all respects. The technology and ensemble of three people might be almost perfect. The quality is not dropped to the last minute though the composition of a hard tune continues. It is likely to be able to think about "Heavy Machinary" of this album and Johansson brother + Allan Holdsworth as a pair if it dares to say. It is a work with which the tension overflows exactly.