ABLUTION

Swedish experimental Jazz-Rock Fusion with the help of Quartermass keyboard player Pete Robinson (later with Brand X).

1. "Bluegaloo" (6:25) a B+ funk track in a Herbie Hancock Headhunters style with successive solos from flute, electric guitar, drums and percussion, and electric piano (with flute and horn accents and embellishmnts). Nice jam with nice sound but there's really nothing very innovative from the soloists in terms of the sound or styles. (8.75/10)

2. "Woodchurch Sorceress "(1:50) creepy cinematic flute and percussion in-the-woods kind of stuff. (4.25/5)

3. "Kokt Tvätt" (5:51) flourish-filled launch into a repeating bar of odd rock-riffs arranged into a groove over which flute and electric piano solo and stuff. Not your typical Jazz-Rock Fusion; more like drawing from the older stuff of the earlier experimental work of Tony Williams, Freddie Hubbard, Herbie, and even Miles Davis. Nice drumming and percussion work. Pete Robinson and bassist John Gustavsson are a little too free and crazed for me. (8.75/10)

4. "The Nard Finished Third" (7:08) more funky like something from PARLIAMENT, WAR, or THE AVERAGE WHITE BAND than jazzy. Over the first few minutes it's all about the funk with little attention given to solos or jazziness. The third minute finally sees some soloing but this is all rock guitar (again like Parliament). I guess this reminds me also of Larry Coryell's eccentric Jazz Fusion. Again I must commend the percussion work of Malando Gassama and Ola Brunkert as well as dummer Barry De Souza (or is it Ola Brunkert on this one?). The flute play in the next section is quite flamboyant--more akin to that of Ian Anderson or Thijs van Lier than Joe Farrell or Hubert Laws. (13.25/15)

5. "Equator" (5:51) a quick-out-of-the-gate percussive sprint leads into a section of frenzy before the band finally settle into a still-frantically-paced and performed body akin to something John McLaughlin or Larry Coryell might have something to do with. Guitarist Janne Schaffer comes out of the first turn as the first true soloist before the percussion team takes over for a "solo" of their own. Then Pete Robinson, Janne Schaffer, and John Gustavsson start to trade barbs, back and forth, around the triangle, before settling into a side-by-side race of all-out soloing. The "chorus" brings the band back into harmony despite the frenetic energy feeding the soloing instincts of every one in the band. Wow! (9.25/10)

6. "Third Meter Stroll" (6:40) opens with lone bass acting as if he's trying to find his way through a cave system in the dark. Crazy-man Björn J'son Lindh joins in on his bat-fluttering flute while synthmeister Peter Robinson adds his own version of mammalian scurrying and fluttering action. The song goes on like this for the duration of the entire 6:40 as the hiker/spelunkerer continues down the tunnels on a steady if stop-and-go, look-and-listen, bump-and-learn mode. (8.875/10)

7. "The Visitor" (9:54) opening with an awesome deep thrum like the Talking Heads' "The Overload" within and over which guitar, percussionists, and wind instruments add their incidentals. Pretty cool--and, I'm sure, a lot of fun for the percussionists/sound effects artists! I wonder if Brian Eno or any of the Heads heard this song before heading into the Remain in Light sessions. (17.75/20)

Total Time 43:39

Interesting for the wide variety of Jazz-Rock Fusion styles adapted here as well as for the experimentalism used to try to create a variety of cinematic moods.

B+/four stars; an excellent collection of experimental Jazz-Rock Fusion songs and tracks. A very interesting listening experience!

This is an excellent Jazz Rock album out of Sweden although this rather large seven piece band includes three guys from the UK. I like the picture of the guys on the back cover. Two of the Brits John Gustafson(bass) and Peter Robinson(electric piano, clavinet, synths and organ) come from the heavy band QUATERMASS while the other is Barry De Souza out of London on trumpet and drums. The legendary Bjorn J:Son is here on flute, electric piano and percussion.

Man this is such an impressive album to listen to. Mostly uptempo with outstanding musicians playing complex arrangements. A lot of percussion on here along with some incredible bass and drum work while the flute, guitar and electric piano often solo over top. Some exceptions are the short "Woodchurch Sorceress" which is haunting with experimental sounds and sparse flute. And the longest track and closer "The Visitor" is also haunting to a lesser degree as it trips along with some flute and a relaxed sound. Headphone music right here. "Third Meter Stroll" is all about the beats and bass. Love that bass. Favourite tracks are "Bluegaloo" the opener with some funk and flute leading the way. Lots of percussion sounds then the guitar solos after 2 minutes. The other top song for me is "Equator" with that powerful sound and insane flute. Some cool sounding guitar expressions and electric piano too.

Just a very well played album with tons going on most of the time. The bass player would go on to play with Ian Gillan band and Roger Glover while the keyboardist went to BRAND X.

This obscure seven-piece band cut their sole album in Sweden, 1974, John Gustafson (bass) and Pete Robinson (Keybords) were two Englishmen that had worked together earlier in the UK prog rock trio Quatermass (1970). Ablution plays a very average kind of jazz-rock fusion that can't stick into my mind.Their playing is solid enough, particularly the combination of the flute and the percussion is strong and adds a latin flavor to their sound. Typical of this era we also hear elements of funk here and there, but overall nothing memorable. As I know it never came out on cd, so the vinyl copies may be expensive too. So, don't look around for it, except if you are deep into Jazz Rock.

After Sonic Youth's Washing Machine, comes Ablution (cover art joke, laughter please).

Ahhh, the swedish music. From Ace of Base to Entombed, from ABBA to Dan Swano projects, I love it. This is Ablution first and last. This isn't a miss. Otherwise, a great jazz/fusion full filled with good solos and a variety of instruments. Mainly Peter Robinson (later in Brand X) keyboards, are very pleasent for me. The violent flutist is very remarkable. From the first song, they show what they got, with awesome keys riffage, percurssion, guitar solo, flute, trumpet, all fused into a stylish rhythm. There is some avant gardish presence at this album, and some dissonant chords. This is the kind of music that if you press "play" you won't stop until it reaches the end.