ALLEYCAT

Great Herbie Hancock- and Miles Davis-inspired Jazz-Funk. I tell you: Ian Carr is one of THE least appreciated/most under-credited contributors to that which we call "Jazz-Rock Fusion"; the man consistently takes the genre into dimensions not-yet-imagined--and does so with bands that express a level of skill and virtuosity that is, in my opinion, unequalled and unparalleled in the world of J-R Fusion!

1. "Phaideaux Corner" (6:20) bass-master Roger Sellers has perfect control of all that is The Funk. Funk Jazz does not get much better than this! Even from The Average White Band! (9.5/10)

2. "Alleycat" (14:05) for the first couple of minutes of this song I find myself thinking that Ian & Company had been studying Herbie Hancock's transition to funk-infused Headhunters music as well as some Steely Dan, but then it devolves into more of an exhibition of studies of Miles and Freddie Hubbard peppered with a few forays into pop- familiar styles and riffs. The musicians are having a ball: each exploring their own melody and accent lines as they feel drawn--especially guitarist Ken Shaw (both on rhythm and lead). The simple pop-rock-oriented motif that fills the final four minutes is great for Shaw to shine but rather schlocky for jazz-rock fusionists. (27.5/30)

3. "Splat" (11:40) another song that definitely unfolds as if it were a copy/imitation of Herbie Hancock's new Headhunters funk style, but then at the 1:30 mark we are treated to an odd and unexpected space-interlude for about 45 seconds before the band jumps right back into the funk. The accent work of the horn section and the animated conversations between Roger Sutton's bass, Ken Shaw's guitar, and Geoff Castle's Fender Rhodes are quite entertaining, even humorous. And did I mention the great drumming and percussion play from Roger Sellers and Trevor Tomkins? A great composition that is made even better by the wonderfully-engaged contributions of every single one of the musicians. A song that again reminds me of Ian Carr's genius at taking a style and making it better-- taking it to unforeseen results--with the highest caliber of confidence, sophistication, and virtuosity. Not even Herbie ever took his funk as far or as high as this! (20/20)

4. "You Can't Be Sure" (4:10) Ken Shaw's 12-string acoustic guitar played country-pickin' style (to sound almost like a mandolin) with Ian's muted trumpet and Roger Sutton's baritone bass lines interplaying with him come across as a great field conversation from the cotton fields of the American South. Not my favorite style of music, and not necessarily a song worth copying, learning, or emulating, it is definitely a display of creative virtuosity. (8.75/10)

5. "Nosegay" (4:40) a racing Fender Rhodes-led display of amazing funk/R&B dexterity and virtuosity. Brian is on fire, but then, so are Roger Sellers, Roger Sutton, Geoff Castle, and Ken Shaw's amazing rhythm guitar work on the wah-wah. Jazz, rock, Fusion, music doesn't get much better than this--nor musicianship get more impressive. I'm not one to wax rhapsodic about keyboard work very often, but Geoff Castle's work both leading the way and in the soloist's spotlight are attention-commanding--worthy of high, high praises. (10/10)

Total time 40:55

A/five stars; a full-on masterpiece of Third Wave Jazz-Rock Fusion: Ian has once again taken the ideas spawned by others (Herbie Hancock, Miles Davis) and expanded upon them in ways that leave the progenitors IN THE DUST!!

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