ALPHONSE MOUZON

The musician now known as the drummer for Wayne Shorter/Weather Report and Roy Ayers and McCoy Tyner has an abundance of energy and creative ideas needing expression. This is the first of many albums Al would produce as a composer and bandleader.

1. "The Essence Of Mystery" (4:55) a most excellent demonstration of Third Wave, "peak era" Jazz-Rock Fusion with understated yet-highly proficient and sophisticated performances from everybody involved; nobody tries to outshine or outdo the others, everybody seems in complete synchrony--which I love. A top three song. (9.5/10)

2. "Funky Finger" (3:40) straying into the territory of vocal funk à la Earth Wind & Fire, Al feels the need to do his Vernon White-Philip Bailey funk vocals over some great funk music. I can't remember Buster Williams' bass being made to sound this funky before (Buster like to remain loyal to his upright double bass) so it must be Wilbur Bascomb, Jr. (8.875/10)

3. "Crying Angels" (5:23) now straying fully into the swampy forest of Herbie Hancock's Mwandishi territory, Fender Rhodes and heavily-reverbed soprano sax notes float above the grounding hits of timpani and bass for the first 80 seconds of this. Then the band shifts into a wonderfully seductive funk track over which Buddy Terry's sax continues to explore Wayne Shorter territory as Larry Willis' rich electric piano and Al's drums do their best job of channeling the funk of Billy C. I love Al's tabla and percussion work in the side tracks: as simple as they are, they add a lot to the rhythm track and hypnotic mood set by the song. (9/10)

4. "Why Can't We Make It" (3:27) here Al is trying to channel some of his 1960s pop influences, most notably, Sly And The Family Stone, as well as (formerly "Little") Stevie Wonder--coming across as quite similar to a sound that Narada Michael Walden would pick up and follow for the second half of the 1970s. (8.75/10)

5. "Macrobian" (5:14) on this song it feels as if Al is funneling in his influences and memories from recent work with pianist McCoy Tyner as well as some of the synthesizer and mood explorations of Alice Coltrane, Pharoah Sanders, and Lonnie Liston Smith. Nice tune. (8.875/10)

6. "Spring Water" (6:27) taking the express avenue toward Smooth Jazz, here Al lets Larry and Buddy steer the music into what sounds more like the music of Jay Beckenstein's Spyro Gyra. Al's drum and percussion play is rather rudimentary and straightforward. The most enjoyable instruments for me are Larry Fender Rhodes and Wilbur's bass. (8.667/10)

7. "Sunflower" (4:27) steering the ship into a more Latin territory never seems to go wrong for any aspiring crossover or fusion artist, and it works here for Al and crew. Though Al's play on the percussion tracks is, once again, rather rudimentary, it works exceedingly well within the weave of the rhythm tracks. Wilbur's electric bass and Larry's "dirty" electric piano are both at their peak both expressively and for elevating the whole group sound. As a matter of fact, this might be the peak song on the album. Definitely a top three song for me. (9.5/10)

8. "Thank You Lord" (4:02) a fairly mellow, almost Smooth Jazz piece with simple vocal-like lead melody coming from Buddy's soprano sax over laid back and mellow funk-lite rhythm track. Not boring but nothing really new or special here, just conmemorative. (8.75/10)

9. "Antonia" (4:40) a high speed vamp over and within which Al and his compatriots take turns powering along some interesting lines at impressive speeds--especially Al--on multiple instruments. (9/10)

Total Time 42:15

Never one very impressed with Alphonse Mouzon's skill or compositional prowess, I do, in fact, like the overall feel of this album. The flamboyance is not all in his fashion/clothing sense.

B+/4.5 stars; a near-masterpiece of eclectic "Second Wave" Jazz-Rock Fusion.

After breaking out on his own solo career the previous year with the fairly-successful The Essence of Mystery the respected Jazz-Rock Fusion drummer strives for more of the Soul/R&B market.

A1. "I've Given You My Love" (4:43) opens up like an ABBA dance tune before quickly veering into the funkier pre-Disco realm. Alphonze's synth solo takes the first extended solo, then pianos, rhythm guitar, and horn blasts punctuate a bridge after the chorus to return to the verse and start over--with the lame synthesizer continuing to solo/announce the melodies (as if it were a human voice delivering lyrics). It's good, solid, definitely danceable and melodic, just not as interesting as--more like the music a TV talk show band would use between guests or to introduce a guest. It's definitely better in the final two minutes when organ and horns are more prominent. (8.875/10)

A2. "You Don't Know How Much I Love You" (4:40) opens with a drum beat like Barry White's "I'm Gonna Love You Just a Little More, Baby" but then blends in some Marvin Gaye What's Going On before turning into something more like "Love's Theme" (with lyrics). This is definitely Al's poorest vocal performance on the album: there are way too many moments in which his pitch fails to stay in key. (8.375/10)

A3. "I Gotta Have You" (2:46) a song that plays out as a kind of humorous cheeky Stevie Wonder-like song. Very simple chord and rhythm structure over which Al sings the title lyric with a few add ons for emphasis. The dude is feeling sex- deprived. Same drum sound, same voice sound issues, and same synth drilling teeth from behind. (8.5/10)

A4. "My Life Is So Blue" (4:37) a song that is set up to be a little more classy, even elegant, with both it's construction, sound palette, and Gino Vannelli-like vocal styling. High marks for effort, demerits for coming across with too much schlock. (8.875/10)

A5. "Funky Snakefoot" (3:45) great drumming, great bass playing from Gary King, and great clavinet play from Harry Whitaker open this one, quickly establishing a very refreshing groove. Trumpet, piano, and trombone solos from Randy Brecker and Barry Rogers, respectively, in the second minute are brief but powerful. Andy Gadsden's saxophone in the fourth, also before the song fades out. Very high-spirited and fun! Easily the best song on the album (perhaps the only one). (9.3333/10)

A6. "My Little Rosebud" (2:02) a very openly tongue-in-cheek Country-Western parody. Mark Horowitz' pedal steel guitar and banjo play are actually quite impressive. (4.25/5)

B1. "A Permanent Love" (4:20) more upbeat, uptempo soulful dance music over which Alphonze sings. The dude shows a little passion and feeling for this lyric; with the addition of the horn sections accents, the music sounds a little like contemporary Stevie Wonder. The lyrics are definitely meant to be the focal point of this one but the horn section is fun (would be fun to be a part of). (8.875/10)

B2. "The Beggar" (4:35) funky synth bass line opens this before cool, solid drum beat joins in. Electric piano, synth, organ, and Alphonze's voice join in. Too bad A's Eddie Murphy-like voice is recorded, engineered and mixed so oddly throughout this album (far into the back--almost muted). Again, the lyrics are meant to be the star of this song--much in the vein of popular social commentarist Gil Scott-Evans, methinks. The song is faded out right in the thick of A's rather impassioned delivery of lyrics. How odd!(8.75/10)

B3. "Oh Yes I Do" (4:35) bluesy-R&B that sounds a bit like The Temptations "Can't Get Next to You." Al starts singing right from the start: once again sounding very much like the voices Eddie Murphy would make popular on his Saturday Night Live musical skits, only, I don't think Al is trying to be comical. The Steohen Winwood blues organ chord progression keeps things organized as Al uses his drums and favorite synth sound to rouse a little more energy over the final two minute's instrumental passage. (8.75/10)

B4. "Tara, Tara" (3:35) nice drumming and keyboard work over this song that mimics Billy Preston, Stevie Wonder and predicts K.C. and the Sunshine Band a little. The drumming is impressive, I just wish it had been recorded and mixed a little better. (8.875/10)

B5. "Where I'm Drumming From" (1:20) sounds like someone fooling around on an early drum machine: rapid fire here, there, everywhere! (Is this where the sound was recorded from to make my first drum machine's programmed sounds?) It's as if a guitarist turned on the record button and just proceeded to spit out 90 seconds of runs. (4/5)

B6. "Ism" (3:08) opens with drums as if to impress--and they're flanged! Then big bombastic jazz chords are played over the continued impressive drumming with synth banks, horns, synth bass chords. I actually like these angular chord progressions though the drumming gets a little pompous and over-zealous from time to time. The man is all Animal tom- and cymbal-crashing--not even the cool flange effect can keep me from feeling embarrassed for Al's apparent need to impress. (9/10)

Total Time: 43:16

A jazzed-up Soul/R&B album with each and every song intended to have possible pop radio play (if only the Soul/R&B charts). It's fun, with no real low/deficiencies it's just not top tier production. Also, Alphonze just doesn't have the voice or vocal talent to pull of radio-quality hits and his drumming is quite often embarrassingly over the top: as if the 25- year old feels some overwhelming drive to prove his skillfulness. (Was he dissed by the critics early on in his career?)

C+/3.25 stars; an interesting and often enjoyable display of Soul/R&B wannabe from a supposed upper-level Jazz-Rock Fusion. I had much higher expectations than this was able to deliver. In terms of relevance to a prog or J-RFuse database, this must, unfortunately, be relegated to the collector/fans only bin.

Alphonse's breakthrough funk album that is often cited as his best work. What a coup to get not one, not two, but three amazing guitarists both reaching the prime of their careers in Tommy Bolin and Lee Ritenour and Jay Graydon!

1. "Mind Transplant" (4:05) hard drivin' rock with a lot of funk reveals a side of Alphonse that I do not know! Impressive but issuing no memorable riffs, melodies, or solos to make it memorable. (8.75/10)

2. "Snow Bound" (3:05) another impressive rock-oriented album that kind of goes nowhere. (8.75/10)

3. "Carbon Dioxide" (4:38) great drumming beneath those rock guitar riffs from the very opening. When the musicians settle into a flowing groove at 0:45 Tommy Bolin gets to lead into the melody, but then there is a dramatic tempo shift around 1:30 that leads into a very-JEAN-LUC PONTY-sounding high-speed chase passage in which Tommy flies around the fretboard with the more-than-adequate support of second guitarist Jay Graydon. Jerry Peters's Hammond B3 gets the second solo but it's oddly mixed behind everyone else. (8.875/10)

4. "Ascorbic Acid" (3:26) impressive drum opening that leads into a song structure in which Alphonse's snare hits feel off-center, making for a kind of odd distraction throughout. On this song Lee Ritenour gets front billing while Jerry Peters plays some pretty awesome Fender Rhodes beneath. I really admire the incredible tightness of all of the musicians' performances. (8.875/10)

5. "Happiness Is Loving You" (4:09) a bit slower and more melody-oriented, it's another excellent twin-guitar exhibition--though Lee gets the credit as the guy with all the solos. Not a great song but it does have catchy melodies and some pretty great nuanced double-guitar work between Jay and Lee. (9/10)

6. "Some of the Things People Do" (3:40) vocal screams at the beginning let one know that we're in for a Afro-funk song that sounds very much like the recent music coming from EARTH WIND & FIRE (without the horns) or KOOL AND THE GANG and/or THE OHIO PLAYERS. Alphonse's singing voice is okay--he's got plenty of confidence and swag--it's just not a great pop song. (8.75/10)

7. "Golden Rainbows" (6:56) a spacey, cinematic song in the vein of the stuff JEFF BECK, THE ISLEY BROTHERS or NARADA MICHAEL WALDEN will be doing. Nice. (13.5/15)

8. "Nitroglycerin" (3:03) as the title indicates, this one is pretty explosive: more from Alphonse and bassist Henry Davis as much as from the twin guitarists and Jerry Peters. Sounds a lot like Jeff Beck's "Freeway Jam." (9.25/10)

Total Time: 33:06

An album that is most impressive for the dominance of its hard-rockin' lines and sounds to me more like the music that would be coming out of bands like RUFUS and

B+/4.5 stars; a near-masterpiece of hard-drivin' jazz-rock fusion.

Yeah I'm giving this 4 stars despite the two commercial tracks on here with female vocals. The rest is gravy as the say and I actually don't mind "Funky Finger" and "Why Can't We Make It?" too much, at least they are the two shortest tracks on here. I would rather have a consistent album though then one with highs and lows, that's just me but this is an exception for sure. Mouzon has brought in two bass players including Buster Williams. Two sax players including Sonny Fortune. Larry Willis on electric piano but for me it's surprising to hear this amazing drummer also play mellotron, clavinet, electric piano and he is the composer. A talented man who has played with pretty much everyone. "The Essence Of Mystery" was released in 1973 and is Alphonse's first solo album. Check out "Mind Transplant" as well for two of his very best records.

Top five includes the self titled opener and this is my favourite. Oh man it's pretty much perfect and in my opinion the best track he's ever released on a solo album. It's the mellotron that creates atmosphere and the electric piano that seems to echo as it trips along. Reminds me of Miles during this time period. Sax comes in over top but will give way to the electric piano before returning later.

"Crying Angels" like the opener is trippy and atmospheric with electric piano, bass and drums as the sax then joins in. The drums become the focus before 1 1/2 minutes and it becomes more uptempo. Sax is back and everyone else, just not the atmosphere. Electric piano and sax take turns soloing over top. More mellotron on "Macrobian" but we get strings this time out of that mellotron. The drum intro is impressive. Electric piano comes out of that with bass and sax in tow followed by mellotron. Again the sax and electric piano takes turns leading. "Sunflower" is pretty cool for all the beats and percussions and the electric piano and sax help out as well. The closer makes my final top five and Alphonse puts on a show for us early on.

Man take out the two commercial tracks and this could have been something very special but as it is I'm so glad I own this one.

That is the first album by Alphonse Mouzon I've acquired, a Japanese edition on the CD and I've never regretted it. As an open music fan, I don't mind stylistic uneven tracks ranging from very good jazz-funk to ferocious fusion and drum soloing. More than 50% of the music here is essential for any fusion fan, notably "Baker's daughter", "Nyctophobia" and "Virtue" followed by some ambitious and experimental parts from the "Mouzon Drum Suite". Fusion ballad "Come into my life" is very accessible but well played with lush keyboards and melodies. The suite is quite naturally inspired by rhythms, more specifically African. All musicians show extraordinary playing abilities, I like Stu Goldberg' fast soloing particularly but devastating bass in Virtue and Nyctophobia need to be highlighted too. "Nyctophobia" actually comes from the 11th House times but the version is nothing short of wonder. Absolutely blitz- speeding rhythms team with bass and breathtaking keyboard and saxophone soloing. This is one of the fastest pieces that fusion can offer (check live version of Malaga Virgen from Brand X for another candidate). Though more commercial and accessible music was starting to sneak into Mouzon's music, this is first and foremost a jazz fusion record and composed/executed damn well.

While I wouldn't include this in the greats of Jazz/ Fusion albums I own this was really satisfying. Most feel this is Alphonse's best solo album following his being part of Larry Coryell's ELEVENTH HOUSE and WEATHER REPORT the guy can really impress on that drum kit. Cool that he brought in Tommy Bolin as the main guitarist although it's surprising that this six piece band has three of them in total. Not a guitar album really but it's certainly the lead instrument most of the time. Alphonse also plays farfisa organ, synths and electric piano here surprisingly. Released in 1975 I get a kick out of the pictures of the guys in platform shoes and bell bottoms. Reminds me of my last years in elementary school and first years in high school.

"Mind Transplant" is a top four track with that nice drum intro as bass and electric piano join in quickly followed by guitar which takes over for the electric piano although the latter will be back later. I like the depth of sound a minute in. Synths before 2 minutes and the electric piano is back after 3 minutes as the intensity continues to the end. Nice start. "Snow Bound" is my least favourite but still good, in fact I was lying in bed this morning with this melody in my head. Crazy! The guitar from Bolin is a nice touch helping this track to be somewhat enjoyable.

"Carbon Dioxide" has so much energy to start with the guitar and drums then it settles beautifully before a minute with synths and more. Great sound here and oh this is a top four track for me as well. Check it out before 1 1/2 minutes as the guitar and drums put on a show and I like the melancholic vibe here. "Ascorbic Acid" has a cool drum intro as guitar, electric piano and more kick in after 30 seconds. Some outbursts of sound that come and go that I'm not into and they will end the song too but this is a good one.

"Happiness Is Loving You" is one I liked from the first listen. A feel good, chilled number with some nice guitar over top. "Some Of The Things People Do" is the only vocal and track and the guy can sing. Sure it's somewhat dated but man I was bouncing around to this every time it was on. Could have been a single in my opinion. "Golden Rainbows" is the longest one at almost 7 minutes and a top four. I just like the vibe to this mid paced beauty. Samples of a storm are cool that go on for some time. Some intensity after 2 1/2 minutes and Tommy lights it up a minute later.

"Nitroglycerin" is the closer and the final top four. Guitar and drums impress as usual in this energetic send off. I like the Fender Rhodes too but Alphonse's drum work takes the cake. Check out the guitar before 1 1/2 minutes as Bolin rips it up but Mouzon is on a mission here. So yeah well worth tracking down for Jazz/ Fusion fans. This one grooves pretty good and there's plenty of energy. A solid 4 stars.

So many great jazz-rock drummers out there in Progland, luminaries like Billy Cobham, Lenny White, Peter Erskine, Jack DeJohnette, Tony Williams, Vinnie Colaiuta and Michael Walden, all made quite a name for themselves in a wide variety of sessions. There are some equally brilliant ones who are, sadly not quite as famous, such as Rayford Griffin (Ponty), Leon Chancler (Santana) and Chester Thompson (Ponty, Genesis). Which brings us to Alphonse Mouzon, a hyperactive drummer who should easily qualify to thump with the legends. His sensational technical display and furious passion are fully developed on this magical recording, a delightful coalition of instrumentalists helping him achieve the perfect groove. He would eventually carve out quite a reputation with Larry Coryell's 11th House, Roberta Flack and Al Di Meola. Guitarists Tommy Bolin, Jay Graydon and Lee Ritenour are into the mood, keyboardist Jerry Peters adding his jazz vibe and bassist Henry Davis keeping things nicely fastened and bolted. I found myself focused on Mouzon's incredible technique throughout the set list, after all, it's his solo outing and he is certainly not timid nor shy.

The eight tracks presented here are relatively short, precise and often hyperactive slices of jazz-funk-rock that explodes with resounding effect. From the opening title track, the intense suggestion is both swift and dynamic, showing off Mouzon's blistering technique and leading the crew into electric rocking horizons. Tingling and vocoder effects on the guitars from Bolin makes the grade while Henry Davis does great things to his bass guitar on 'Snow Bound', a singular display of choppy control, organized chaos and creativity. On the aptly named 'Carbon Dioxide', the mood varies between harsher expanses and softer climes, a definite showcase for Tommy Bolin to rip it up, muscled by a divine bass run and Mouzon's supersonic drumming, easily recalling Cobham's burly delivery. Peters flourishes on organ, adding more punch to the fury. A track that could have gone on for another ten minutes, at the rate they were going (cough, cough)!

Drum solo intro time on 'Ascorbic Acid' and what a powerhouse this one is, the relentlessly impatient burp of the bass egging the players closer to a razor edge, dignified by a pair of tortuous guitar solos that has speed, hysteria, sizzle and substance. Both Graydon and Ritenour duel mercilessly, each a thorough 'in the zone' blast. The much- maligned Ritenour also shines on the next two tunes, the lovely 'Happiness is Loving You', for this is a respected axe man who could have made a greater name for himself then just a gifted session man. Big surprise on the choppy funk tune of 'Some of the Things People Do'. Similar to Dr. John's 'In the Right Place', this is more of a vocal driven funk number that has a nice Southern feel with Ritenour's slinky rhythm work and slippery leads pushing the surprisingly adept Mouzon vocals into the spotlight.

Highlight track unquestionably, 'Golden Rainbows' is quite the rhythmic oasis, giving a bubbly groove that is unshakeable and resolute, thus providing the platform for some serious soloing, a slower-paced steam roller that forges forward bold and confident, with perfectly positioned keys, bass and that powerful drum beat. Bolin takes it over with perhaps some of his best work, in a gritty, talkative style that emotes very obviously and hints at some Hendrixian notions of sustained bluesy notes, lush with sweat and brawn. World class track, period, worth the price of admission. Counter that with the masterful 'Nitroglycerin' , a perfect description for the detonation on display here, a blistering musical racer that careens down the sonic highway with a no-holds-barred, 'pedal to the metal' mad dash to some imaginary checkered flag. Bolin and Mouzon are simply terrifying at surpassing the level of notes and beats thrashing about, seemingly effortlessly. Short, sweet and sick.

Definitely a must for fans of the artists presented above, guitar god aficionados as well as drumming students looking for heroes. This album sits nicely among my many jazz-rock gems.

4 Awareness uproots