STANLEY CLARKE

Bass guitar legend Stanley Clarke's debut foray as a band leader.

1. "Vulcan Princess" (4:00) great whole-band jazz-rock with horn section and a bit of the RTF feel in the rhythm section. How to find fault with this? Maybe it lacks a little in the melody side. And drummer "Anthony" (Tony) Williams doesn't get much chance to shine. (9.25/10)

2. "Yesterday Princess" (1:41) slowed down for Stanley's vocals. (4.75/5)

3. "Lopsy Lu" (7:03) another song which amply displays Stanley, Bill Connors, and Jan Hammer's skills but seems to severely restrain those of Tony Williams. The musicians all feel at such ease that at times it feels as if they're kind of just dialing in their performances--especially Jan By the time we get to the fifth minute it's feeling like a drawn out version of JEFF BECK's "Freeway Jam" (which, I know, came out later). Tony finally gets to show off a bit in the sixth minute but even there it feels dialed in. (13/15)

4. "Power" (7:20) okay, finally Tony Williams gets to show his stuff! A full minute of just him, tout seul! When the rest of the band joins in they settle into a fairly (and surprisingly) steady funk pattern of surprising simplicity. Its spaciousness allows plenty of room for Bill's rhythm guitar and Jan's soloing to be heard even if Stanley's four chord bass line is getting really old. Luckily, he begins to change things up--add riffs and plucks--while the electric guitar and Moog take turns playing around up front. Tony is steady but even he gets lots of room to embellish and fill while Stanley seems to hold down the fort--until the sixth minute, that is, when he starts to get antsy. Then there is a shift in motif at 5:30, this one shifting Stanley's gear up a notch or two as Bill and Jan (now on electric piano) trade solos. This section sounds much more like that which is to come in the next RTF albums. (13.25/15)

5. "Spanish Phases for Strings & Bass" (6:26) opening with two minutes of impressive acoustic bass play, Stanley stops and then Michael Gibbs' string section joins in for a bit to support Stanley, but then disappearing while Stanley goes back to exploratory improvisation on his now-electric bass. Another bridge at 4:15 of strings before Stanley unleashes a fury of chord strumming. I can see how this song might be very exciting and inspiring for other bass players--aspiring and otherwise. I only wish there had been more time committed to interplay/layering of the bass with/within the strings. (13.375/10)

6. "Life Suite" : - "Part I" (1:51) time-keeping piano left hand with bowed double bass and full orchestra. (4.75/5) - "Part II" (4:12) and now we're off to the races. Awesome orchestral support. And bass play. Becomes very Chick Corea-sounding as it goes on. About halfway through there is a switch in motifs as a gentle Latin foundation settles in with very engaging bass and rhythm guitar play over which Jan Hammer performs a very Chick-Corea-like Moog solo. Love the horn accents. (9.125/10) - "Part III "(1:03) a return to swirling piano play with strings and bowed double bass carrying the main melody. (4.75/5) - "Part IV" (6:41) gently repetitive rhythm track once again allows for space for other instruments to solo and for accents and flourishes for those instruments waiting in the wings (for their turns). Bill Connor's first solo builds and builds into what sounds so much like the solos that Al Di Meola will become so celebrated for--and he gets over three minutes to perform! At first warming into his space and spotlight, his solo becomes something for the ages. Now I think I finally understand why this guy is so revered! Even Tony Williams' drumming seems almost lame in support and comparison! Jan Hammer gets the final minute to solo but this has really been a Bill Connors display--and a very giving and selfless act of band leader Stanley Clarke to offer up. (9.75/10)

Total Time 40:31

This is Stanley's album but don't miss Bill Connors' work in the final movement of the "Life Suite."

A-/five stars; a minor masterpiece of Jazz-Rock Fusion.

In this work, someone who is one of the best bassists in history continues to testify because he holds that title with all merit. In Up, Stanley Clarke goes from the funk rhythms (Pop Virgil) that are part of his DNA, to the orchestrations and complex rhythm breaks with atonal choruses, (Last train to Sanity) counterpoints with reminiscences of his friend and musical partner Chick Corea . (How you miss him!) Continuing along the paths of the most contemporary jazz as in the homonymous song, Stanley has always been an integral bassist, who can make his electric bass speak as well as exclaim his double bass, creating melodies from classics (one can glimpse J.S. Bach walk often.) demonstrating a versatility that perhaps distances him from one of the great and famous bassists, the late Jaco Pastorius. With their Bass Folk Song we immerse ourselves in the depths and then move to an avenue illuminated by night neon lights (I Have Something to Tell You Tonight). The deep jazz sensitivity (the same one that led him to collaborate with the exquisite Hiromi Uehara) and playing the double bass with his bow, turning it into a Cello as if it were Yo-Yo Ma himself. In la canción de Sofía, with which this varied mosaic closes, takes us to that intimate and autumnal air typical of someone who knows many tones and is not afraid to use them. Stanley Clarke is not just another virtuoso bassist, in each successful album he demonstrates feeling, transmits something more than the execution of simple musical notes, he leaves his spirit in those sound waves bouncing off our own acoustic box, thus becoming a most personal experience.

One of the most beautiful jazz fusion collaborations I've ever heard. What makes this 1995 studio album so special is that it is an all-acoustic trio. Without drums. So unusual in the jazz idiom. To me on a par with Miles' Kind of Blue and the three record albums from Bill Evans, Scott La Faro and Paul Motian's Village Vangard sessions. Still better is 1994's Live at Montreux DVD from the trio plus keyboard artist, Monte Alexander, which prompted the trio to record a studio album together before going off on their own paths. Stanley Clarke is jaw-dropping amazing.

1. "Indigo" (7:15) one of Al's compositions, from his 1993 release World Symphonia - Heart of the Immigrants. Great stuff! Should/could be a top three song? but there are others! (14.5/15)

2. "Renaissance" (4:32) a classic Jean-Luc Ponty song previously introduced to the world on 1976's Aurora album-- before Jean-Luc had become a household name. Hear performed so beautifully with Al and Jean-Luc really shining as Stanley keeps immaculate time. A top three song for me--mostly for the beautiful melody and rhythm structure. (10/10)

3. "Song to John" (6:00) originally composed by Stanley with Chick Corea back in 1975 for Stanley's Journey to Love album. It was originally composed for John McLaughlin and his "new" scalloped guitar that he was using for his Shakti albums and performances. Al's Django Reinhardt treatment of the supporting strumming is incredible--as is his MIDIed lead. Then Stanley gets his say in an incredible solo in the second half. These guys aren't old: they're in their prime! The original is incredible--with lots of space for feeling the power, but this new, amped up version is just as great in its own way. (9.5/10)

4. "Chilean Pipe Song" (6:12) another Al song (he was really, really into Latin American music in the 1980s), Jean-Luc, and especially Stanley add so much. (9/10)

5. "Topanga" (5:50) a Stanley composition--perhaps written or offered just for these sessions as I can find no previous record of it ever being recorded. Man does Stanley's bowed bass dig deep into the heart strings! Great support and contributions to The Man from Al and Jean-Luc. A top three for me. (10/10)

6. "Morocco" (5:45) Al's third and final contribution to the trio--from his 1991 studio release, Kiss My Axe. Gorgeous textures and soli with not enough of a core to distinguish it much from any other jazz jam. But, damn, the performances are fine! (8.75/10)

7. "Change of Life" (5:30) the second Jean-Luc contribution, another song that I can find no previous record of so could very well have been offered to the trio for this and only this recording. A nice pastoral romp through the country side--on a horse-drawn, open air carriage. Such a smooth, relaxing song--with such amazingly dextrous, finesse-filled performances. Such a privilege! For sure a top three song! (9.75/10)

8. "La Cancion de Sofia" (8:30) the third Stanley contribution, this one from Slow and almost plodding, the spaciousness gives lots of room for flourishes and incidentals. Then, at near the halfway poiont, we have a stop and reset: a fast-paced race with the Devil ensues. Again, we're in the territory of such hallowed giants as Stéphane Grappelli and Django Reinhardt. An odd song but, again, we are so privileged to be in the company of these virtuosi! (17.5/20)

9. "Memory Canyon" (6:00) Jean-Luc Ponty's final contribution to the trio, another song whose lack of history leads me to beleive that it was a song Jean-Luc gifted to his pals specifically for this recording. (8.5/10)

A/five stars; a certifiable, undisputable masterpiece of virtuosic Jazz-Rock Fusion and definitely an album that belongs in every prog lover's music collection! Easily my Album of the Year for 1995.

This is Stanley Clark's first album, he chose to surround himself with some of the best in the business including the singer DEEDEE BRIDGEWATER whose performance I had the pleasure to see a few years ago.

The giant PAT MARTINO holds the electric & 12-string guitars and LENNY WHITE, who held a preponderant place in the development of jazz fusion is behind the drums.

To create his first work, Stanley Clark was determined to surround himself with the bests. But in practice, what does it give?

On the whole, the album is a fine execution of the standard, pure jazz style. we have some striking examples of this "ordinary" and basic type of jazz in Children of forever or Butterfly dreams.

Some moments are rather grandiloquent (especially the first piece) and sometimes reigns the softness and sensuality thanks to the sublime voice of DeeDee Bridgewater (Unexpected Days).

Chick Corea is not outdone, and we hear his touch throughout the album (in particular on the dynamic Bass Folk Song)

Only the last track is for me really interesting and goes out of the beaten tracks, one feels that it is more adventurous, more daring, it goes into space, DeeDee Bridgewater even makes a more original rendition.

I give 2.5/5 to this album because it is still really too academic, too stern, I know that each of these artists did better, they are here still at their beginnings and seek their way, let us be indulgent.

Returning to the modern contemporary but no way a straight conventional jazz and reverting to acoustic bass, having a trio including Hiromi lets no musician sleep on their laurels. Hiromi and Clarke are eager to experiment with textures and forms without sounding aggressively while White supports the flow seamlessly. You won't notice the typical 5/4 jazz pattern in many songs (One exception being "3 wrong notes", "Brain training" and "Solar"), all songs have a custom modern signature. The music is not really linked to jazz fusion, it's more laid-back but equally thought-provoking and exploratory - if you listen to "Take the Coltrane" - you'll see what irregularity I mean - the bass and drums are full of changes. "Isotope" has virtuoso jamming mainly by Hiromi, stunning chords and intensity of playing. "Solar" is the most upbeat song here and it reveals a lot of energy with soloing by each member. There is a surprinsingly good cover of the Red Hot Chili Peppers "Under the bridge" with piano being the best instrument, excellent playing and jazz chord sequence again. A really nice collaboration!

This record is a sort of contemporary comeback by Clarke after a couple of straight jazz records with acoustic bass. It's an eclectic set of songs ranging from R&B, contemporary jazz, smooth jazz to jazz funk. There are some clever and warm instrumentals like "Simply said" or "Anna" or "All the children" which show mature bass technique without overshadowing the main motive. R&B is represented by "Where is the love" which features vocal style a la Stevie Wonder. "Just Cruzin" is a great 70's feeling not unsimilar to George Benson mid-70's instrumental output. "'Bout bass" has a great rhythm led by multiple layers of solo bass and accompanying bass. The last two cuts could be easily a part of soundtrack. The weak spoken "I shall not be moved" is compensated by the ethereal "Shanti Peace Paz" sharing the Indian violin and jazzy bass.

A confident album by the bass legend.

Clarke is trying a new formula on his first 80's album, adding hard rock elements. You need guitar, bass, drums and suitable vocals. Clarke manages to succeed in three out of four aspects. Songs on the first side have a rocking sound but they are far from full-fledged hard rock convincing spirit. They are grooving and sometimes contain awkward funky beat to it.

The title track is the first highlight with great bass soloing and amiable motive. "Underestimation" has a terrible vocal, quite bad drums but good guitar and progressive rock synths.

Then we turn to the funky side with a more suitable vocal. "We Supply" lets you know that Clarke is now in a much more familiar territory. Bass playing is the best element of it. The long 11-minute suite is the last legendary epic and features the first and third magnificient and intensive fusion sections. In particular, the third section is a dramatic finale full of dynamic moments including terrific drumming. If you hear the second and third section and think that it reminds you of another Clarke work, then pay attention to "Life is just a Game" on "School Days".

Last mixed quality album before Clarke fully immersed in the commercial phase of his career until 1988.

More a jazz-funk than fusion but still of a good quality unlike those from the 80's. There is good composing, focus on feeling and arrangements rather than fast soloing. "I wanna play for you" has a commercial vibe with vocal and lazy rhythm but compensates throwaway tendencies are saved by instrumental effort of keyboards and bass. "Together again" is another highlight, after 3 average sung tracks. Simple rhythm but good contemporary bass playing. "Blues for Mingus" is an acoustic bass conventional remembering of Charles Mingus. There are several live tracks on this double album, too. Let me highlight the rocking "Rock'n'roll Jelly" with Ray Gomez on the guitar and "Jamaican boy" with Jeff Beck with his typical muscular fusion mid-70's guitar. Even if you dislike Clarke's funky tendencies, you may be pleased with the high quality playing on the live tracks and hearing a few less conventional numbers.

Live album at the top of his fusion fame and with important fusion comrades assisting. You can also name it the early Best of compilation. Bass playing is, of course, more virtuoso and intensive than on the studio record. "School days" was driving the listeners crazy with Clarke's mesmerizing technique. "Lopsy lu" is otherwise an average studio track but here it puts the guitarist, drummer and Clarke to the high league. "Silly putty" represents the high quality funk side of Clarke, plenty of space for slapping, again. Brass section is audibly more present than on the studio record. "The magician" goes back to the RTF times and sounds more majestic with the brass section. "Vulcan princess" is a solid fusion good-bye to the listeners.

Excellent line-up with fusion all-stars but how does the music fare? "School days" is the last of Clarke's classic fusion albums of the 70's and ranks among his best. The albums starts with the most iconic Clarke's number, the ode to fusion bass, it remains the centerpiece for almost 8 minutes and the accompanying instruments change. "Quiet afternoon" is a simplified and very accessible, cosy piece of jazzy instrumental, I think there are bass synth effects. A subdued acoustic number "Desert song" is a bit too laid for my taste but shows the acoustic side of McLaughlin and Clarke. it continues with "Hot Sun" which is a loud exploration of funk fusion . The bass is leading the pack but brass section is ready to follow. "Life is just a game" is one of the most pompous Clarke's numbers feeling almost like a prog introduction. However, a vocal, which I attribute to his companion Duke brings us into a more conventional territory. At least, it's a well composed section. Then we get to a bass-busy funky exploration, drums and Duke keyboards joining. I love the frenetic rhythm speed and the intensive motive with fast bass slapping. Excellent composition and plenty of things to explore!

I highly recommend this album to all fusion fans.