JAZZ ROCK/FUSION

1. "Preludi I record" (2:14) sounding more like a Journey or schmaltzy FOCUS song of the Mother Focus period, there are even West Side Story references to what feels like anthemic music. Weird! I'm not even sure I would call this Jazz- Rock Fusion! (4.25/5)

2. "Nova (musica de la Llum)" (8:56) music that is both cinematic and proggy enough to warrant comparisons to bands of the time like SANTANA, YES, and even Todd Rundgren's UTOPIA. Nice drumming display (if a bit sophomoric) in the fifth and sixth minutes. They're trying so hard to be top-tier prog--or J-R Fusionists--but are just not there yet. (17.5/20) 3. "L'acustica (referencia d'un canvi interior)" (9:10) opening with a sound palette and choatic playing style that reminds me of the early songs and albums of GONG, NOVA, and STEVE HILLAGE. At 1:45 a new motif starts with some out-of-tune reverb-guitar arpeggi and electric piano notes. At 2:45 the full band finally comes together into a gorgeous space-proggy motif that reminds me of one of the early Canterbury artists (like EGG) wherein acoustic guitar and piano take turns soloing over The music and performances are so simplistic compared to what will come ahead on Sentiments and Arc-en-ciel! And the sound engineering is awful compared to what's ahead. In the end this is a pretty prog song showing a band of ambitious young musicians on the rise. (17.75/20) 4. "La d'en Kitflus" (6:49) despite the cheesy synth strings and Fender Rhodes play, here is the first song that begins to encroach the possibilities of Jazz-Rock Fusion--though there are just as many symphonic elements employed: It reminds me of early FOCUS. Some very impressive guitar and synth synchronized runs here and there! The lumbering bass-centric motif in the fourth and fifth minutes is as mystifying as it is cheesy. Again: some brilliant ideas that the band (and producer) are just too young and inexperienced to turn into fusion (or prog) gold. The skills are impressive but they're still learning how to best display and express them. (13.125/15)

5. "La flamenca electrica" (5:56) sounds like a continuation of the previous song; as if the band is using these song ideas to figure how to best express their talents instead of trying to make the composition their primary focus of their expression. Interesting and very skillfully layered but lacking the sounds from their instruments as well as the engineering acumen (or equipment) to pull off some great sound. (I'm often wondering if these were demos that never reached the finishing/polishing stages.) Again, great skills in development and aspiration; they're just not there yet. (8.75/10)

6. "A Valencia" (8:45) a song that seems to be based on working on the mastering of a borrowed riff: like any student of classical music, you work with études and other practice vehicles in order to perfect your chops as well as your musical foundations. That is exactly what this song feels like--especially with its "Never Been Any Reason" HEAD EAST sound palette. There's even a couple more styles to work on in successive motifs within the song. Nice to hear Jordi's drum skills put on full display in the final motif. (17.25/20)

7. "11/8 (Manifest de la follia)" (6:54) the first of the band's songs on which I've heard a little of the Latin flavors that will continue to grow and take over their playing sound and style. Definitely a song reaching for RETURN TO FOREVER territory--and almost successfully doing so! You go, Guys! You'll get there! (13.375/15)

Total Time: 48:44

The band has definitely not evolved into its masterful RETURN TO FOREVER sound nor the incredible cohesion and synchrony of Arc-en-ciel yet; the band's engineering, compositional, and performative skills are just not up to the speed and skill level necessary to pull off those next couple albums. Give 'em a year!

B/four stars; an excellent tier-two contribution to the lexicon of progressive rock music from a band that is still finding its way, still experimenting with its preferences for style and sound (as well as still growing their skills). It's worth listening to, but if you want the peak of this band's output, seek out 1977's Sentiments or 1978's Arc-en-ciel.

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.

1. "Palm Grease" (10:37) using simpler structures, simpler melodic hooks, simpler more pop-oriented rhythm patterns, Herbie turns his music into a product that is more oriented toward the entertainment of the masses instead of something trying to impress the traditionalists. The musicians he has chosen to surround himself on this one are, of course, incredibly solid but also carry that single-minded vision of serving the masses and thus help in producing eminently listenable, enjoyable, and danceable songs. Great drumming from Mike Clark and great bass play from Paul Jackson while Bennie Maupin and Herbie test all the funk sound boundaries with their futuristic sounds. (17.75/20)

2. "Actual Proof" (9:40) with the smooth synth strings and floating flute, this one crosses both the Stevie Wonder-like funk and Bob James-like Smooth Jazz worlds despite the wonderfully funky bass and clavinet play. From a keyboard- perspective, this song lets me know that Herbie had heard Eumir DEODATO's hit-generating music from Prelude. From a bass and drums perspective I can hear that Paul Jackson and Mike Clark had been hearing the stuff that Buster Williams and Stanley Clarke as well as Billy Cobham and Lenny White were doing since the Bitches Brew sessions; just stupendous play from both of them! One of the coolest funk-laden Smooth Jazz songs you will ever hear! (19.75/20)

3. "Butterfly" (11:17) awesome late night cabana smooth jazz with Bennie Maupin's bass clarinet and saxello carrying a lot of the melody load--but from the back! Herbie sits back with his synth strings supporting the scene for the first two minutes before revealing his clavinet and Fender Rhodes while Bennie solos. The drums, percussion and bass are simple--like a good R&B rhythm section in relax and groove mode throughout Bennie's two-plus minute solo. Herbie takes the next extended solo--for the next five minutes!--on his Fender. Lovely. What a great earworm of a bass riff! At 7:00 Herbie moves to his clavinet for a bit and, with it, the band into a great funkified variation of the main theme before he returns to a more vibrant solo form on his Fender. (19/20)

4. "Spank-A-Lee" (7:12) an exercise in pure funk à la the recent STEVIE WONDER work (think "Boogie on Reggae Woman"). The four rhythmatists are wonderful--and obviously having a great time grooving with one another, but from the one-minute mark on it's really the Bennie Maupin show and I'm not really a sax man. While not as catchy or melodic as the previous songs, it is still demonstrative of some mighty high talent. (13.375/15)

Total Time 38:46

I think that humble, uber-talented bandleader Herbie Hancock here demonstrates that he is finally convinced that his keyboard playing can be front and center--as the main attraction--and that all of the funk tendencies taking over the radio waves and technological advances going on in keyboard instrumentation needed tending to--and advantage taken of. While I loved his 1960s work and his Mwandishi period, I am LOVING this stuff WAY more!

A/five stars; a certifiable masterpiece of Second Wave Jazz-Rock Fusion and one of my favorite albums in the J-R Fuse lexicon.

Iconoclasta has to be one of the most iconic Mexican progressive rock bands ever, with over 40 years of existence and a rich amount of releases, they have definitely left their footprints and legacy on this musical genre. Bands and people are in constant change, and this time was not the exception, because after all the band members reunited some years ago for a wonderful 35 anniversary concert, they decided to put the band on a hiatus, knowing the different visions and life-plans each of the members had.

However, Ricardo Moreno and Greta Silva wanted to continue this project and accept the changes and all the challenges it implies, so now, as a two-headed band, they released in 2023 the album 'Alter-ego', whose title perfectly describes this new era. Released via Azafrán Media, it consists of 10 tracks and 2 bonus tracks, with songs composed prior to the pandemics (some reworks, actually), along with a couple of covers. Ricardo Moreno plays guitars, bass, keyboards and percussion, while Greta Silva plays bass and adds her great vocal skills.

Of course, since the first track 'La vida es...' we can appreciate the distinctive guitar sound Iconoclasta have provided for years, and with the vocals it seems that time has not passed and we are listening to the same essence they had since their 2009 release, the first one with Silva on vocals. I love 'Sacbé (Tributo a los hermanos Toussaint)', a heartfelt instrumental rendition to some iconic musicians from Mexico whose legacy in the jazz scene is undeniable.

The sound can be peaceful and tender, an example is 'Tita de Tito (Tributo para un gran hombre: A.E.R.), an instrumental composition that could work as a lesson for kids that want to enter to the musical world. But the album also brings some challenging moments where the prog rock essence is evident, like in 'Noche lluviosa de verano en Querétaro', which happens to be the longest composition, and, to my ears, my favorite track here. It is a challenging song and a proof that the duo compositional skills are intact, it has great changes in mood and tempo, it wonderfully flows and I particularly love the keyboard arrangements and the dymanic bass notes and lines. Great!

'Repítelo 28 veces' is a nice shorter track that takes us to Iconoclasta's 80's essence; and then the proggy soul returns with 'Viaje astral', which is to me another of the highlights of this album, and a proof of how great they understand each other in this new duo era because there is a moment where they share their skills with their instruments, creating passages full of freedom, like walking their own path, which at the same time, is the same for both.

'Manantial' is a rework from that classic track they released back in 1983, with their debut album. 'Hijo (dedicado a Albéniz Moreno) is a song they included in their 'Resurrección' album back in 2009, and one they used to play in their 35 anniversary shows (and before), so I recognized it right away and even sang what I remembered. A heartfelt and tender track full of love. 'No puedo ser lo que no quiero ser' is another rework, taken from their 1994 release 'De todos uno'.

The album finishes with 'Ejecución con final feliz' which is a nice fast-tempo track with a sound full of joy, so yeah, it represents its title.

There are two bonus tracks which are covers. First 'Fanrarria olímpica México 1968' originally composed by Carlos Jiménez Mabarak for the Olympic Games in Mexico; and then 'Storia o leggenda', original by Italian prog legends Le Orme. Both of them are very nice renditions.

Don't know if they plan to make new music as a duo, or if Baldovinos or Ortegón would comeback, but in the meantime, this is a nice album that can be appreciated by the band's fans.

1. "Święto strachów" (5:10) (8.66667/10)

2. "Hej, pomóżcie ludzie" (2:45) a song with an anthemic chorus that sounds like it was probably a big hit in Poland. (4.5/5)

3. "Muszę mieć dziewczynę" (3:02) violin is prominent contributor to this one. (8.66667/10)

4. "Naga rzeka" (4:57) the flute-led instrumental passage in the middle is founded on a motif sounding very much like Carole King's "I Feel the Earth Move." Nice song. (9/10)

5. "Dziewczyna, w która wierzę" (3:44) great Latin-oriented CHICAGO-like beat and rhythm track supports some interesting choral vocals that sound like something coming from a Cuban brass band! Once again the motif used for the instrumental section feels borrowed. (8.75/10)

6. "Masz przewrócone w głowie" (3:28) sounds like a borrowed Aretha song usurped by macho men and a gospel choir. (8.5/10)

7. "Wymyśliłem ciebie" (2:59) half Bond cinema, half Chicago/Andrew Lloyd-Weber Jesus Christ Superstar. (8.75/10)

8. "Szczęście nosi twoje imię" (3:15) except for the John Coltrane-like soprano sax work, this one is very close/imitative of BLOOD, SWEAT AND TEARS. (8.5/10)

9. "Wołanie o słońce nad światem" (10:36) a not very successful blend of DOORS-like pop music with big band progressive jazz. I wish it weren't the case but this is the weakest song on the album--a blending of styles that feels more like a medley of hits than a prog/jazz suite. (17/20)

Total time: 39:59

More proggy and brass poppy than Jazz-Rock Fusion, it's very vocal-centric. I'm told that I would like this album much more if had command of the Polish language. Vocalist Anrzej Zaucha commands a very respectable voice sounding like a cross between Greg Lake and David Clayton Thomas. I don't like or approve of the band's habit of usurping music from big American hits for the instrumental passages even if they do have good taste in the song motifs they "borrow." It's masterful but hardly indicative of a band that wants to create their own compositions and sound--more like that of a cover band in the process of converting to/experimenting with original compositions.

C+/3.5 stars; a creative and synthesizing band of pop-oriented rockers whose music draws a bit too much from other artists. As musicians they are very good. Their excellent vocalist would go on to achieve martyr-legendary status after an early death.

1. "Funny Funk" (5:18) George experimenting with more new sounds. (8.75/10)

2. "Love" (6:06) a partly vocal song featuring Frank Zappa using Ernie Isley's guitar tone. (8.75/10)

3. "The Once Over" (4:39) a spacey, moody HERBIE HANCOCK-like start before a mood change occurs in the second minute prompting a reset into rhythm-oriented foundation. The return to reverberating Fender Rhodes chords at 2:20 is interesting, but it remains a percussionist's song untill its RTF-like final second flourish. (8.875/10)

4. "Feel" (5:40) more vocals--this time with electric piano and synths backing them. At the end of the first minute the rhythm section joins in as George flies through a short but effective synth solo. Then we settle into a gentle, syrupy pop song that predicts the smooth R&B jazz pop music of GEORGE BENSON, NARADA MICHAEL WALDEN, and MICHAEL FRANKS. More extraordinary synth soloing over the Fender Rhodes-led rhythm track. Definitely a top three song despite its lack of jazz orientation. (9/10)

5. "Cora Joberge" (3:50) dynamic electric piano with delay effect eventually gets support from flourishes from synth and drums before funkified bass and steady cymbal play join in. Poor recording of "dirty" effected electric piano. There are parts of this that remind me of Terry Riley or somebody else in the pioneering phase of electronic keyboards. (8.75/10)

6. "Old Slipper" (5:41) funky jam with multiple keys filling the sonic field as well as serving as lead instruments. The multiple personalities of George Duke! Perfect syncopated support from Ndugu and John. Interesting but not very noteworthy. An unstable" synth note introduced around the three-minute mark signals the upcoming transition into a proggy and then Parliamentarian passage--the latter of which find Frank Zappa's very-distorted guitar jumping in and shredding away. (8.75/10)

7. "Tzina "(2:01) dreamy/spacey keyboard play from multiple keyboard instruments/tracks (including some strings emulator) results in a kind of cinematic interlude. (4.375/5)

8. "Yana Aminah" (4:33) Airto's wife, Flora Purim, graces this Latin song with her vocal tracks, singing in English. Too bad the lyrics weren't more poetic nor the layered vocal tracks more polished and better synchronized. Overall this sounds very much like a song Stevie Wonder would have written for his wife, Syreeta Wright. STill, it's a pretty decent song; George could very easily have had a career in writing/producing pop songs. (8.75/10)

9. "Rashid" (3:36) starts out as a KOOL & THE GANG or CAMEO kind of funk song, then turns a sharp left at 1:49 onto a speedway for a hyperspeed synth solo that plays out for the rest of the song. (8.66667/10)

10. "Statement" (1:15) another pretty little cinematic interlude sounding like something from Patrick Moraz's solo album, I. (4.5/5)

Total time 42:39

More of the same sound issues I had with Goerge's previous album (from the same year). I have to say that there has been a slight improvement in performance contribution from both Ndugu and John Heard.

B/four stars; another excellent album to add to any Jazz-Rock Fusion lover's music collection. Not quite as good as his other 1974 release, Face in Reflection, but still worthy of listening to (and enjoying).

1. "The Opening" (3:18) rollicking RTF-like racing music.. (8.875/10)

2. "Capricorn" (5:06) bluesy like a slavery field work song. I can feel the deep emotions being released. (8.875/10)

3. "Piano Solo No 1+2" (2:21) not really the piano I was expecting: a strangely electrified piano and ? piano? Nice music. Part two is definitely different and yet clearly a continuation of the same sound(s). (4.33333/5)

4. "Psychosomatic Dung" (5:03) funky schlock that will become all the rage within the next three years minus all the dynamics from the rhythm section. Ndugu gets some shine in the fourth minute before George lets loose on the wah- wah clavinet and Fender Rhodes. (8.75/10)

5. "Faces In Reflection No.1" (Instrumental) (3:37) nice foundation with some excellent soloing and sound use but lacking fullness and development. (Perhaps George should've had one more collaborator). Probably one of my top three songs. (8.875/10)

6. "Maria Tres Filhos" (5:09) this one not only sounds like a Chick Corea song, it may be! (It isn't: it's written by the great Brazilian songwriter Milton Nacimento.) Nice percussive work throughout from Ndugu but even more so during his extended solo in the fourth minute. (8.75/10)

7. "North Beach" (6:26) a long keyboard solo that sounds like wah-pedal rhythm guitar play and a bunch of sound effects. It's actually kind of cool. (8.875/10)

8. "Da Somba" (6:18) a song that races along on the power of the collective energy of all three highly-attuned musicians. John Heard's extended bass solo pales when compared to other contemporary bass players like Stanley Clarke, Buster Williams, Ron Carter, or Eddie Gomez. (8.75/10)

9. "Faces In Reflection No.2" (Vocal) (2:19) a final vocal supporting song--the tension here is quite cool--making the listener crave for more. My favorite piece on the album. (5/5)

Total time 39:37

Clearly influenced by Chick Corea's RETURN TO FOREVER releases, there is no arguing with George Duke's talent and skill. The biggest issues I have with the music on this album are in the sound recording and reproduction department as well as in the area of composition. Perhaps George needed an escape from the crazy control that was even the world of Frank Zappa. The heavy sound effects used on bassist John Heard's double bass seem to mimic those of RTF bass player STANLEY CLARKE. Leon "Ndugu" Chancler's drum playing is quite good but the sound engineering of his drums (not cymbals) suffers from a murky-muted compressed feel.

B+/four stars; an excellent addition to any Jazz-Rock Fusion lover's music collection. Definitely an album that gets better with repeated listens.

1. (25:04) a very entertaining and enjoyable adventure in musical theatre. I have to admit to being quite surprised at how well it flows, how well recorded it is, and how engaged I remained throughout. I love the forward mixing of all the instruments and the stellar clarity and definition of each and every instrument. The music does get a little too-rock 'n' roll at times--especially in the Elvis-like final movement. (47.5/50) - a. Opening "HELLO" - b. Essentia I, Sanquine - c. Essentia II, Choleric - d. Essentia III, Melancholic - e. Essentia IV, Phlegmatic - f. Qvinta Essentia: VITA - g. Overture: Absorbia g.a. Heart-Theme, Solaria g.b. Brain-Theme, Lunaria g.c. Liver-Theme, Jupiter g.d. Kidney-Theme, Venus - h. VI: The Complete Pentagram

2. "Samelam-Samelam" (4:10) blues-rock feeling as if resuscitated from the late 1950s. Great in the instrumental portion after Lars says, "Sock it to me, Baby." How can I help but not like this music?!(8.875/10) 3. "Entree's" (3:54) a little 1960s game show theme music or else an overture to a peppy moralistic hippie-happy stage musical. Whatever this is, it's delightful! Keyboard artist and band leader Kristian Pommer should get more credit for his wonderful clavinet playing here. The rhythmists Bent Clausen and Niels "Vejmand" Christensen as well. Heck! Everybody is spot on with this one! (9.25/10)

4. "Spring-Theme-Summer-Theme" (3:55) a delightful piece of music very much in the vein as Billy and Gene Page's big 1964 hit, "The In Crowd." (9.3333333/10)

5. "In The Morning" (2:01) another gorgeous piece that feels as if it would be a perfect fit for the American Tribal Love- Rock Musical, Hair. (5/5)

6. "Desserts: Forest-Flower-Picking-Preludium" (7:29) sounds very much like something SUPERSISTER would have been putting out at the same time: quirky yet sophisticated and driven by the attention span of someone with Attention Deficit Disorder. Nice extended lead (fuzz) guitar work from Lars Rasmussen Probably the weakest total package on the album (it feels like a bit of studio jamming filler)--both compositionally and sound engineering-wise--but still better than 95% of the stuff out there! (8.75/10)

Total time 46:33

While never too complex musically, the ideas are quite wild and expressive in an almost-spontaneous way. All the music is actually quite melodic, pretty, and even quite danceable. Well recorded and engineered, lead singer/vocalist Lars Bisgaard is quite talented--blessed with a beautiful voice and a perfect English accent. The comparisons to the music of both Frank Zappa and the Canterbury Scene artists are quite warranted as well as Brass Rock bands like Chicago and Blood, Sweat and Tears. The musicianship is quite high with all instruments being present with absolute confidence and competency. I'm going to have trouble grouping this album with the true jazz-rock fusers yet the amazing number of styles and sounds experimented and fused with here definitely deserve some kind of major recognition, however, at the same time, I will understand all of the people who will exclaim that if I admit this album into my J-R Fuse compendium then Frank Zappa's stuff should be as well. Maybe I will!

A/five stars; an excellent masterpiece of chameleonic music theater from some pretty focused musicians.

1. "Alien Chase On Arabian Desert" (8:59) such a proggy start grâce de Philippe Saisse.The crystalline clarity of Al's guitar tones (and their rendering by the engineer) is always something to applaud. Drummer Robbie Gonzalez and percussionist Eddie Colon are sure ensuring that this is a dynamic song. Interesting bass chord play from Tim Landers- -all the while Al trades off multiple stunning guitar riffs and solos between his multiple guitars and guitar sounds-- especially from those Egyptian/Spanish-sounding acoustic guitars. Impressive but, in the end, a little too wild and disjointed for my tastes. (17.75/20)

2. "Silent Story In Her Eyes" (7:35) multiple tracks of acoustic guitars playing within each other's domain leads to a wonderfully-tropical feeling ambiance. It doesn't hurt that Mingo Lewis, Anthony Jackson, Chick Corea, and Peter Cannnarozzi are helping out Al, Robbie, Phillippe, and Eddie. Awesome earworm melodies and guitar playing. There is just something wonderful about the seaside resort feeling being conjured up by this Caribbe-style music. If there is anything weak about this song it would be Anthony Jackson's clavinet-like sound given his bass (not his playing). But this is definitely Al showing his absolute mastery of melody at the same time as being an absolute virtuoso of his instrument. A top three song. (14.75/15)

3. "Roller Jubilee" (4:44) Phillippe Saisse and Al duelling on marimba and celesta, respectively, syrupy melodies and a surprising disco rhythm track from Steve Gadd and Anthony Jackson and the other keyboard players and percussionists. Sounds like The Beach Boys' "Kokomo" song. At the same time, I cannot find fault with either the composition or performances; it's just the style that stretches credibility for the J-R Fuse domain. Oh, and did I mention that Al Di Meola is a mighty impressive guitar player? (9/10) 4. "Two To Tango" (4:13) Chick Corea's second appearance on this album, here playing his piano strings (muting them) in duet with Al's steel stringed acoustic guitar--definitely exploring the tango form. One of those songs that helps me appreciate how the Tango is often included within the umbrella of classical musical styles. (8.75/10)

5. "Al Di`s Dream Theme" (6:50) a bit of a return to the delicious mood of the tropical cabana life of "Silent Story in Her Eyes"--at least for the opening 90-seconds: then it all goes funk conga-line dancing with some flaming electric guitar soloing alternating with some off-setting/balancing Moog work from Jan Hammer. If this is supposed to represent one of Al's dreams, it was truly a crazy, jumpy-staccato dream. Most of Al's extraordinary guitar reaches, runs, and flourishes are by now so rote and almost expected as to render them kind of boring. Oh well. Not every song but such a dynamic and talented artist can be ground-breaking and totally original. (13.125/15)

6. "Dinner Music Of The Gods" (8:33) another song whose rhythm construct feels forced, basic, and unfit for an Al Di Meola display. Also, I do not like this "distant" sound effect Al has chosen (predominantly) for his electric guitar. Some cool interplay between keys and percussion in the third minute before Al can figure out how best to play off of Anthony Jackson's bass around the four-minute mark (the beginning of the best section of the song). Great performances top to bottom in the fifth minute. I even love Phillippe Saisse's harpsichord playing off of Al's steel-string acoustic in the sixth minute, I'm just not sold (or enjoying) that bass riff perpetuated by Anthony Jackson over and over. This unknown drummer named Robbie Gonzalez sure is doing a nice job on this oddly-metered and -syncopated song. Not a pretty or melodic song compared to some other beauties but definitely a rollicky display of stellar musicianship. (18.25/20)

7. "Splendido Sundance" (4:51) No longer can Al find a guitarist good enough to match wits with, so he plays with himself--on several tracks. This would definitely have been a great song to do in the famous Trio format (as it was done in 1980, only never released until 2022). This version is much better. (9/10)

8. "I Can Tell" (4:01) an odd opening with the pop-jazz rock keyboard and funk bass opening. Then singing! Al can sing (sounding and engineering a bit like Narada Michael Walden). And he plays the drums! Not the greatest but not bad. (8.66667/10)

9. "Spanish Eye"s (5:11) opens like a Jimmy Webb song performed by Glen Campbell and Chet Atkins. (But it's Lester!) Interesting and delightful from an historical value. (Lester could play!) Again Steve Gadd is relegated to an odd job. (What a waste.) (When I saw Al and Jan Hammer on this tour Steve was by far the most impressive thing in both bands.) The classic song's music is, of course, a mere gimmick to setup Al and Les' interplay. A nice display of guitar virtuosity. Thank you, Al! (9.3333333/10)

10. "Isfahan" (11:35) opening with a children's choir singing a cappella (with pristine sound capture and engineering) for 100-seconds before a group of chamber strings enters to prep us for some of Al's acoustic guitar play. Though playing on his favored steel-stringed axe, the style he's using is at first quite different than what we've heard from him before: more Moorish than Spanish. But then, it is, apparently, Chick's song, which would explain a lot. I really like this song for its musical divergence from the rest of Al's stuff but it does diminish it a bit knowing that it's not his song; why didn't Chick just save this song for release on one of his own albums? (A version of it does exist on Chick's 1985 release Septet, but it's 13:47 long, considered "Third Stream" music (meaning it's a fusion of jazz with classical music or orchestration), and performed with flute, French horn, and string quartet (and very beautiful). This one is nice, displaying a side of Al that we don't get to see enough of (so far) but not as beautiful as Chick's fully-realised rendition of his composition. (18/20)

11. "Bianca`s Midnight Lullaby" (1:54) a pretty little ditty that doesn't sound like you'd play it in your child's bedroom but, rather, on the summer porch outside her bedroom window. (4.5/5)

Total Time: 68:26

B+/4.5 stars; a near-masterpiece of guitar virtuosity on display within some pretty great compositions--especially "Silent Story in Her Eyes": one of my all-time favorite Al Di Meola songs. And don't miss getting to know a little of Les Paul's genius and talents on "Spanish Eyes" as well as Chick Corea's beautiful "Isfahan" composition.

The beautiful title track, "Moonlight", opens the album with pulsing bass lines, hectic drumming and delicate melodic breaks that drive you through metropolitan dreams under the moon and the city lights... Next comes "Murano", another excellent dreamy track full of dappled colours and soft atmospheres. The title refers to a locality in the Venetian Lagoon, best known for its glass making...

"King Of Nothing" is darker. It opens with the bass in the forefront and goes on with a perfect interaction with the other instruments evoking a strange sense of uneasiness while the following "M-I-M-M-A" is lighter and carefree, almost suitable for dancing...

"Chatterland" is calmer and with a laid back attitude. The great technicality of the solos never clouds the sense of melody and musicality of the piece... Then it's the turn of "Japanese Experiment" a piece that slowly grows to take you to distant territories where all the members of the band showcase their great musicianship...

The brilliant "My Os" blends jazz rock with a touch electronica evoking the development of a very particular operating system and leads to the final track, the reflective, intense "Rebirth"...

On the whole, an excellent album of modern fusion!