dreadpirateroberts Once again CTI and Van Gelder combine for what was, by now, bit of a tried and true method of releasing successful jazz records, and records that were getting smoother and smoother.

But the warm sonics and classical-meets-jazz arrangement of mid-tempo pieces with laid back grooves works perfectly for Deodato, whose electric piano, skillful arrangements and bossa nova past are employed to fine effect here in 'Prelude' his first US album as leader.

The Latin Jazz feel to the pieces works a treat too, equally pleasant across his three originals and the reinterpretations that are as much a hallmark of CTI as they are a testament to Deodato's savvy arrangements. There's no denying that the pop sensibilities are part of the album's joy. It isn't a noodly record. It's relaxed - it summons up impressions of lying back in the sun, cool drinks clinking with ice, or cruising down sweltering streets with the windows down.

Ron Carter and Billy Cobham (among others) provide the perfect accompaniment to Deodato's breezy horn and string arrangements and occasional guitar or piano solos. In fact, nowhere is this combination more lush than on 'Spirit of Summer' and nowhere is it more successful than on his reworking of the 2001 theme 'Also Sprach Zarathustra' a 9 minute funk odyssey and international hit. Elsewhere, we have another classical adaptation, in 'Prelude To "The Afternoon Of A Faun"' which despite a nice solo from flautist Laws, is not as effective and gets a little lost toward the middle. Much more expressive is 'Baubles, Bangles And Beads' with its fuzzy solos from John Tropea's electric guitar or the strutting 'September 13' co-written by Cobham.

If you are turned off by Pop Jazz or the smoother side of Latin Jazz, then you won't enjoy this. If, on the other hand, you're content to take a break and let yourself be swept along, then you should buy this one from Deodato. 'Prelude' serves as an excellent introduction to his work for CTI, representing quite a peak.

Sean Trane Previously known as a bossa and samba artiste, Deodato jumped the Brazilian shark and threw himself into a rather successful reconversion in flamboyant JR/F with this immensely successful “new debut” album with the widely aired version of 2001’s theme, here called Also Sprach Zarathustra. Indeed, Deodato’s formula of mixing the classic, the jazz and the rock mediums together proved quasi-infallible, despite a few moments of cheesiness here and there, especially so with the sometimes over-sweetish strings. Helped out by bassists Ron Carter and Stanley Clarke and drummer Billy Cobham, the album is filled with another two dozens of no-less deserving fine musos. Incredibly enough, it’s again the Columbia label (this time through its Epic sub-label) that released such a brass and string filled gem.

Opening on the wild adaptation of Kubrick’s 2001 film theme from Strauss, this awesome instrumental fully deserves its mega exposition that it’s gotten for the next two decades, with Deodato’s fiery Rhodes playing, Clarke’s mega-bass presence and Tropea’s brilliant guitar parts. Opening the flipside is Baubles, a Latin work-out of an Antonin Borodin theme, quickly followed by a dissonant (almost free) intro of Debussy’s Faun piece, before going almost Mwandishi-like and finally returning to the dissonant outro. The closing September 13 is a wild- jazz-rock/fusion piece titled after the second and second last day of the recording session and is cowritten by Cobham, who’s quite impressive throughout the whole album.

Despite the resolutely international scheme of this album, you can still hear Deodato’s Brazilian origins, through the samba and bossa nova roots of the man, even if they are not over-powering (quite the opposite) the rest of the music. A rather short album (especially compared to the following one), Prelude is an essential fusion album of the early 70’s that most everyone should own or at least have access to easily.