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jazz music reviews (new releases)

BRENT LAIDLER Hidden Gems

Album · 2024 · Soul Jazz
Cover art 3.50 | 1 rating
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Although not particularly well known worldwide, guitarist Brent Laidler has been an active member of the jazz scene in Indiana for many years and in many capacities including; performer, arranger, composer, educator and also instrument repairman. “Hidden Gems” is Brent’s fifth album as leader and finds him working with the same group of musicians who recorded his previous outings. The band’s familiarity with each other pays off as this is a very tight ensemble, smooth in execution and always in the pocket and in the groove. Almost half the tunes are in a relaxed bossa/samba rhythm and the coolness of this music permeates the entire album, this is not a group given to much extravagant excesses. The concise Brazilian sound is furthered by Jamie Newman’s organ sound which does not often use vibrato, chorus or leslie, and instead presents that dry sound favored by the bossa crowd. The tick .. tick .. tick tick sound of wood claves also flavors many of these tracks.

Outside of the Latin influences, “Hidden Gems” also pulls from the world of soul jazz and funky hard bop with saxophonist Ned Boyd often featuring a raspy tone favored by the RnB crowd. The album’s title comes from the fact that Laidler poured through countless old fake books in search of ’gems’ to re-harmonize and contemporize. “Gemini” is based on an old Cannonball Adderly solo transcription, “Riffy Business” was a TV soundtrack in the early 1960s and “Petite Parasol” was updated with a modern hip-hop beat. The main appeal of this album though is found in it’s sound and production, appealing conciseness was something that Brasil 66 understood, likewise Erik Satie as well as Brian Eno’s ambient pop of the late 70s.

RODNEY WHITAKER Mosaic : The Music of Gregg Hill

Album · 2025 · Post Bop
Cover art 4.00 | 1 rating
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Rodney Whitaker is a sought-after bassist extraordinaire and a pre-eminent jazz educator. On his latest project, “Mosaic: The Music of Gregg Hill” (Origin Records, 2025), Whitaker and his vibrant working band breathe life into Hill’s idiosyncratic compositions, crafting an album brimming with fiery interplay, deep swing, and a forward-thinking sense of adventure.

From the outset, the title track, “Mosaic,” draws listeners in with its lush voicings shaped by juxtaposing silence with shimmering patterns of harmonic movement. This grand opening sets the stage for the ensemble’s fluid creativity. Whitaker’s bass signals the next section with his robust basslines setting up the swing time feel. Terell Stafford’s soaring trumpet lines and Tim Warfield’s soprano saxophone perform the compelling melody. Stafford, Warfield, and pianist Rick Roe express solos over the deep swing pocket of Whitaker and drummer Dana Hall. Throughout, Whitaker anchors the band with a steady yet dynamic pulse and his deep connection to Hill’s compositions.

“Unknown Ballade” features Rockelle Whitaker’s soulful vocals that imbue the sensual groove with warmth and power. Her gripping performance of the melody that crescendos into a climactic resolution is impressive. Hill’s writing mixes post-bop structures for the ensemble to explore. This harmonic framework is especially effective in providing interesting pathways of expression during the solo sections. Equally striking is “Claxilever,” where Stafford and Warfield channel the exuberance of hard-bop captured in Hill’s catchy writing and the ensemble’s buoyant swing camaraderie. Stafford’s, Warfield’s, Roe’s, and Whitaker’s improvisations are emotive and musical, with the rhythm section’s earthy swing feel grounding the adventurous explorations. The trading between the ensemble and Hall is outstanding.

Other highlights include “Katie’s Tune,” which blends Afro-Cuban rhythms with a waltz-like feel, showcasing Hill’s skillful integration of cross-cultural influences. Whitaker and his ensemble bring these elements to life, delivering a cohesive modern jazz voice that amplifies the music’s expressive truths. On “Sloe Gin Fizz,” the ensemble reaches its hard-swinging zenith, with Hill’s composition delivering a poetic melody and setting for exploration. Whitaker’s jazz blues solo seamlessly transitions into Stafford’s. Warfield’s improvisation builds to Rick Roe’s inventive piano improvisation. The trading section’s interplay here epitomizes the art of interactive jazz performance.

“Mosaic: The Music of Gregg Hill” reflects how jazz remains a living, breathing art form, deeply rooted in historical contexts that can be expressed upon. Hill’s compositions draw from the genre’s storied past, reflecting the subtle influences of specific era’s harmonic and rhythmic textures. Tracks like “Sloe Gin Fizz” evoke a 1950s jazz vibe with intricate, eighth-note-based melodies reminiscent of the bebop era, while “Katie’s Tune” radiates the rhythmic energy of Latin jazz fused with modern jazz vitality. By incorporating these historical and stylistic markers, Hill creates a distinctive space for Whitaker and his ensemble to explore, amplifying the authenticity and depth of each piece. Whitaker’s grounding in jazz’s tradition adds his vision for expression as he brings his arranging voice to create a dynamic interplay.

This blend of historical reverence and forward-thinking artistry is at the heart of “Mosaic: The Music of Gregg Hill.” Hill’s ability to balance intricate, note-specific melodies with expansive, chordal frameworks creates a platform for passionate exploration, inspiring Whitaker and his ensemble to deliver performances imbued with precision and emotional resonance. “Mosaic: The Music of Gregg Hill” is a celebration of jazz’s enduring vitality, inviting listeners to journey through its layered artistry and musical sense of place.

ALEX MCLAUGHLIN A Brand New State

Album · 2025 · Post Bop
Cover art 3.50 | 1 rating
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Although “A Brand New State” is bassist Alex McLaughlin’s first album as a leader, he is hardly new to the jazz scene. Some artists he has worked with include Arturo Sandoval, Kurt Elling, Matt Wilson and even comedian Sandra Bernhard. Alex’s reputation has to be strong because he was able to pull in some A-listers for help, including Tina Raymond on drums and Jeremy Siskind on piano, but probably the most well known name on here is Jeremy Pelt on trumpet. The influence of Miles’ mid 60s quintet is heavy on this outing, which could be said about many modern post bop albums, but Alex and his crew do a better job than most when it comes to matching the open-ended approach of the Davis band. Much like Miles, Alex and his band mates don’t necessarily mark steady time, instead, the drums are part of the ongoing musical conversation and the rhythm tends to ebb and flow with the soloists. Likewise, chord changes are not always adhered to strictly, as the players pick and choose notes with a certain understood freedom. This is a very conversational band that listens intently to each other.

The music is today’s post bop with fusion influences and an overall abstract approach. On “Trailhead”, the band gets into a sort of jazz-rock heavy rhythm with Jeremy Pelt channeling Freddie Hubbard style aggressive trumpet attacks. Siskind can recall Herbie Hancock at times and this is evident on “Signals” where his laid back soloing is reminiscent of Herbie’s “Speak Like a Child” opus. This number also features Pelt using a mute for more Miles type sounds. On “The Solar Punks”, Siskind gets into some large block descending chords that may remind some of Craig Taborn.

Towards the end of the album, the band gets a little more bluesy and straight ahead with “El Polvo” carrying some Thelonious Monk abrasions as well as some of Siskind’s best piano work on the album. “Trial” continues the hard bop orientation and album closer, “Elevation”, was inspired by Joe Henderson’s “Isotope”.

JEFF RUPERT It Gets Better

Album · 2024 · Hard Bop
Cover art 4.00 | 1 rating
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They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

KENNY BARRON Beyond This Place

Album · 2024 · Post Bop
Cover art 4.00 | 1 rating
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Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

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JOHN LEE AND GERRY BROWN Chaser

Album · 1979 · Fusion
Cover art 3.45 | 2 ratings
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FunkFreak75
Working with a pared down lineup of musicians than their previous album, the accompanying quintet are able to fill the sonic field as fully as the expanded lineups of previous albums due to multi-tracking, overdubbing, more expansive sounds available through newer instrument technologies.

Line-up / Musicians: - John Lee / bass - Gerry Brown / drums - Eef Albers / guitars - Darryl Thompson / guitar - Kenneth Knudsen / keyboards - Bob Malach / saxophone - Palle Mikkelborg / trumpet

A1. "Chaser" (5:59) Discofied romp of sax-led smooth jazz. Are we moving toward Yacht Rock? Sure sounds like it. The musicianship is impeccable--as is the quality of the recording and mixing. As cheesy/schlocky as this "Don't Leave Me This Way" song is, I cannot find much fault with it. (9/10)

A2. "Will It Last?" (4:43) the DAVID SANBORN sound is here! (Don't touch this, Najee and Kenny G!) Again, I find it hard to criticize the musicianship or John & Gerry's inclination to "fall in line" with the styles dominating the day--especially when they're still producing sophisticated, tightly-performed song constructs like this. (8.875/10)

A3. "Fate Ripper" (4:33) a play on some of the Sabbath/Heep inspired rock and heavy metal creeping more and more into the charts and sales at this time (like 707, Loverboy, Ted Nugent)? And with a disco beat! Funny thing is: it works! (8.875/10)

A4. "Daily Planets" (3:52) something with a space-proggy intro! Then turned funky like a ELOY song. Oops! Here comes Bob Malach's heavily-reverbed David Sanborn sax sound. Unfortunately John keeps getting pretty stuck on a single climbing bass progression. I do like the Brothers Johnson keyboard/guitar riff at the high end. It's not bad--still filled with great musicianship--just not a great song. (8.75/10)

B1. "Celebration" (4:43) like you, I was expecting a rendering of the Kool & The Gang song of the same name but that'll have to wait another year. This one is full of horns (the genius of multitracking -especially with the advent of 48- and 96-track engineering consoles.) Nice guitar solo from Eef Albers. (8.875/10)

B2. "What It If" (4:37) another techno-rockin' funk motif over which sax and guitar (Eef Albers) trade solos (and yet another song based on a insidious and repeating rising chord progression). The rhythm track musicians are so tight and creative! This factor alone makes any "dud" song very difficult to demerit. (8.75/10)

B3. "New Waves" (4:16) more rock-chord-oriented music (this one even harboring a preponderance of elements of Souther Rock). Just not enough compositional development. The guitarist soloing this time round might be Darryl Thompson instead of Eef Albers. (8.75/10)

B4. "Prospect Park" (4:54) again trying out the styles and sound palettes of American Southern Rock, this guitar led, "power chord" energized song has another insidious push to it with a powerful electric guitar solo throughout, but especially in the third and fourth minutes and again, even more fiery, in the final. Too bad it's so one-dimensional. (8.75/10)

Though still exhibiting top notch musicianship and sound engineering, the brothers have moved from their Jazz-Funk and Funk-R&B infatuation toward the more radio- and adult-friendly Smooth Jazz. Also, much of the sound here previews the palettes that will dominate the 1980s with Techno/Glam bands like HUMAN LEAGUE, DURAN DURAN, DAVID SANBORN, as well as four or five songs that show John and Gerry experimenting with power-rock and Southern Rock.

Total time: 37:33

B/four stars; an excellent adventure into a heavier, more mainstream-oriented rock fusion.

JOHN LEE AND GERRY BROWN Still Can't Say Enough

Album · 1976 · Fusion
Cover art 3.95 | 2 ratings
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FunkFreak75
The power-funk rhythm section drifts even more into R&B-funk land. And what a lineup! It's a virtual who's who of jazz-rock musicians!

A1. "Freeze It Up" (4:49) funky like an early Kool & The Gang song (or, later, a Brothers Johnson tune). Lots of musicians being used to fill space: especially the horns but also the clavinet, organ, synthesizers, multiple guitars, and others. As a matter of fact, the bass and drum lines are among the simplest and sparsest on the song. (8.75/10)

A2. "Love The Way You Make Me Feel" (5:06) a soul/R&B number that even includes vocals--here performed as a gospel music-like ensemble from Mtume, Cheryl Alexander, Tawatha Agee, and Lonnie Liston Smith's brother, Donald. It's not bad by any means, just not hit worthy (unless in a gospel music setting). (8.75/10)

A3. "Rise On" (6:12) trying to sound like the Mahavishnu Orchestra, or Santana, or Journey, I can see/hear the pattern of these guys getting stuck in their heads on motifs that they think probably should sound good (cuz they make such cool sense, mathematically), yet the melodies and group interactions sometimes just get stuck and overstay their welcome very quickly. The musicianship and sound engineering is never in question, it's just the like-ablitity factor that's lacking. (8.75/10)

A4. "Funky Row" (3:43) John Lee's rolling bass lines manage to start up the funk while organ, multiple rhythm guitars, multiple keys, and multiple horns lock it in. There's a Ohio Players/JB's/Kool & The Gang feel runnin' deep in this one. (8.875/10)

B1. "Talkin' Bout The Right One" (5:11) Back to the soul/R&B funk world with group vocals that sound like Maze, The Dells, Spinners, or Stylistics. John's funk-pluck bass notes aren't quite in the same league as Larry Graham, Verdine White, or Bootsy Collins. The vocals are nice--definitely hit-worthy--but maybe a few years ahead of what radio was ready for. Definitely a top three song. (9/10)

B2. "Strut 'N' Get Up" (4:38) yet another song that demonstrates John and Gerry's longing to be a part of the funk-R&B scene: everything here screams it out: the Billy Preston "Outta Space" clavinet, the funky fretless bass, the Average White Band horns and sax, the awesome motif shifts à la WAR and THE OHIO PLAYERS. A very impressive song. (Did Howard Shore steal this for the Saturday Night Live theme song or did John & Gerry steal from Howard? Most likely the latter as John & Gerry seem to really like "borrowing" themes, styles, and sounds from others.) Another top three song. (9.125/10)

B3. "Breakin'" (4:26) a more high-flyin' rocker despite the funky Disco-like drum play and free-floatin' fretless bass. The horns and keyboard synth solos are really tight and honed in--which I like--and the Disco elements are still being drowned in all of the fullness of funk-jazz and funk-R&B sound. There is a very strong feeling of the coming of the future CHIC sound here. Another very impressive song. My final top three song. (9/10)

B4. "Down The Way" (5:20) The Isleys! "Climbin' . . . Up the ladder." But then the over-sanitized "dirty" sax sound of a David Sanborn predecessor (often doubled up by another sax) comes in. (Is it Ernie Watts or Michael Brecker? Ahh! The two are taking turns!) How blessed are these two for the awesome funk foundation they have to inspire their performances!? (8.875/10)

B5. "Out The Box" (1:27) one more funk theme to put out there for the adoring funk-a-delics. (4.5/5)

Total Time: 39:32

B+/4.5 stars; a near-masterpiece of Jazz-Funk and an excellent display of Jazz-Rock Fusion musicianship and arrangements that any/every music lover could/might appreciate.

JEAN-LUC PONTY A Taste for Passion

Album · 1979 · Fusion
Cover art 3.19 | 10 ratings
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FunkFreak75
I remember really enjoying this album for driving and summer outdoor background music when it came out. This is Jean-Luc in his extraordinary peak run of great albums. I also had the privilege of seeing him in concert with this album tour.

1. "Stay With Me" (5:35) a long drum-and-bass-less opening presents Jean-Luc's space-violin at its spaciest. The drum and bass inputs are minimal while the guitar and keyboards are nebulous, literally, as one cannot distinguish between the synthesized violin-generated sounds and effected keys and gtrs. (9.3333/10)

2. "Sunset Drive" (5:45) though the four chord vamp (with very cheesy early techno-pop [think "Tainted Love"] drum machine!) is a bit cheesy, Ralphe Armstrong's opening fretless bass solo is quite impressive. Jamie Glaser then takes over the lead with a rather odd guitar sound: sounding like a rhythm guitarist trying to play a solo in a kind of 1960s jazz style with this whole weird modern sound filtering his guitar play. Starting at 2:34 the best section of the song starts as the rhythm section seems to be trying to drown out Jamie, but this just spurs the guitarist on to better heights. Then it's Jean-Luc's turn (this had become his new habit in his mature and secure years: allowing his collaborators to have the first solos--despite the fact that his establishment of the main melodies was always the best.) Innocuous and memorable mostly for that drum machine! (8.75/10)

3. "Dreamy Eyes" (4:18) a replication and variation on the successful "I Only Feel Good with You" sound palette and motif from the end of his prior album, Cosmic Messenger. But, heck! If it's a formula that works, why not?! Joaquin Leivano's choice for guitar tone is much preferred here--it allows his smooth runs to sound much more connected and flowing. (8.875/10)

4. "Beach Girl" (4:56) a lively, fun, almost Country-Disco composition in which the acoustic instruments are quite a nice change (violin, acoustic guitar, piano). I'm not sure if it's Jamie Glaser or Joaquin Lievano that has the smooth EARL KLUGH/AL DI MEOLA-like touch and facility on the steel string acoustic guitar, but it's nice--a little reminiscent of Daryl Stuermer's play on the similar "New Country" from Jean-Luc's 1976 classic, Imaginary Voyage (right down to the foot-stompin' beat). An awesome violin solo in the fourth minute only seals this as a J-L P classic. (9/10)

5. "Taste For Passion" (5:22) great solo piano motif (played by Jean-Luc, not Allan Zavod) opens this one before the power switch for the whole band is turned on at 0:37, bringing in a cool, rather deceptively slow-paced motif into play over which Joaquin Leviano's electric guitar is given the first crack at impressing (and impressive it is!) The structure and sound palette of the "meat" of this one is once again reminiscent of one of the songs off of Jean-Luc's previous album, Cosmic Messenger. (9/10)

6. "Life Cycles" (5:45) Jamie Glaser is given the lead guitar position once again over a very pop-oriented groove--one that could very easily have come from a Soul/R&B hit from the same era by the likes of Bobby Caldwell, Earth, Wind & Fire, or Narada Michael Walden. Nice tune. Cool engineering of Casey Schueurell's awesome Phil Collins-like drum play. Allan Zavod finally gets some "me time" with a cool synth sound in the second minute. Everybody seems in sync--as if they're all really enjoying this one--even Jean-Luc's solos project a kind of joi de vivre. (9/10)

7. "Reminiscence" (1:26) one of Jean-Luc's little sound experimentations--this one with a couple of bombastic rock 'n' roll power chords in the middle to punctuate its cinematic value. (4.375/5)

8. "Give Us A Chance" (3:02) another song that seems to pull some inspiration from the music that was making itself known on the pop charts at the time--which means the structure and play is fairly simple and straightfoward--but this allows for these uber-talented musicians to carve their own idiosyncratic initials into it--which is especially nice from Ralphe and Casey. A very likable song. (What's not to like?) (8.875/10)

9. "Obsession" (0:40) I'd say so! Really: what's the point? (4.25/5)

10. "Farewell" (3:06) smooth and emotional construct for piano, bass, and lead violin turns to the piano (Jean-Luc playing, no doubt) for a pretty solo riff as a bridge to a funky motif with Jean-Luc in the lead while Ralphe and Jamie provide the funk behind. The song really only amounts to another filler--not much longer than one of those interlude thingies (songs #7 & 9). (8.875/10)

Total Time 39:55

While there is some very good meat on this album, a lot of it feels like "unfinished" filler or easy repetitions of previously explored palettes and motifs. Was J-L in a hurry to get this one out? Had he been touring too much and had little time for composition? Or was Atlantic Records just putting pressure on him to get something out soon after his hot-selling Cosmic Messenger (which spent 28 weeks on the Billboard album charts, peaking at #38--his third charting LP in a row)?

B+/4.5 stars; a near-masterpiece of borderline Third Wave and Smooth Jazz that was very popular in its time (and still stands up well today). If it weren't so scattered and feeling unfinished, this probably could have been another masterpiece.

JEAN-LUC PONTY Upon the Wings of Music

Album · 1975 · Fusion
Cover art 4.16 | 10 ratings
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FunkFreak75
A new, entirely American lineup supporting Jean-Luc for this, the first of his long association with Atlantic Records. Consequently, the sound of these songs is the first in the true entry to Third Wave Jazz-Rock Fusion. (Remember: in 1975 anything was possible!)

1. "Upon The Wings Of Music" (5:26) now here's the patented J-L Ponty sound! Thanks to bassist extraordinaire Ralphe Armstrong, the amazingly versatile (and grossly under-appreciated) keyboard player, Patrice Rushen, Jean-Luc's sound is richer, funkier, and way more modern than the electrified attempts he made on previous albums. But, hey! It's all about evolution--the willingness to try new things, adapt, and change, right? Great slap-funk bass from Ralphe with solid drumming from Ndugu. (9/10)

2. "Question With No Answer" (3:29) piano with multiple tracks of violin (a trick Jean-Luc would persist in trying and perfecting by the time Cosmic Messenger and Individual Choice roll around). Some of the violins are more effected than the others, some sounding almost acoustic. Patrice Rushen's bluesy piano provides the absolute perfect support for Jean-Luc's display of multiple personalities, but the addition of the electric bass and drums (mixed far too forward and loudly) is a mistake as their melody-making and rhythmic add-ons only distracts--especially in their total redundancy. (8.75/10)

3. "Now I Know" (4:27) slow and bluesy with a near-C&W ballad-like feel to it, the treated electric violin is very much in line with the sound that will dominate Jean-Luc's albums and music for the next decade. Nice laid back work from the rhythm section, even when Patrice steps up for an electric piano solo in the third minute. But the highlight is Jean-Luc's Violectra and synthesizer use--a first (as far as I know). Cool stuff! (8.875/10)

4. "Polyfolk Dance" (5:12) yes, it's based on folk melodies, but the sound and pacing is all RETURN TO FOREVER--especially due to the presence and very up-front and center contributions of guitarist Ray Parker, Jr. I also love Patrice Rushen's fluid, free, and floating electric piano play between everything that the leads and rhythm section are doing. At 1:45 there is a surprise shift not only to a different road and speed but to a completely different vehicle! The opening was like riding in a van whereas now we've switched to a sports car. Several more tempo and motif switches occur fairly quickly, all the while Ralphe and Ndugu remain locked in while Patrice remains totally lax and fluid. Really cool teamwork! While nothing that Ray (or the other guitarist, Dan Sawyer) does is mind-blowing or innovative, he does a wonderful job of keeping up with and, often, matching melody lines with Jean-Luc. (9.25/10)

5. "Waving Memories" (5:43) solid Third Wave Jazz-Rock Fusion with some elements and motifs entering the realms of Jazz-Funk and Smooth Jazz. The main detriment to this song, despite its stellar performances, is the lack of defining melodies and sometimes disparate sound stylings that don't always mesh together so perfectly. (8.875/10)

6. "Echoes Of The Future" (3:09) heavily-treated/delayed & echoed synth violin partnered with heavily-treated muted guitar and deep synthesized violin washes. Though there might be guitar and keyboard synthesizer present, I suspect (knowing Jean-Luc's "I can do everything" penchant) that it's all multi-track stuff coming from his violins. It is, without question, however, pretty cool; a precursor to Cosmic Messenger's amazing opening title song. (9/10)

7. "Bowing Bowing" (4:53) nice four-chord vamp sound palette over which Jean-Luc and Patrice take turns soloing with their weirdest synthetic sounds. Even Dave Sawyer gets some time near the front as he mirrors and provides harmonic accompaniment to Jean-Luc's melody making with his electric guitar. Glad Jean-Luc finally gave the dude some exposure. Nice tune. (8.875/10)

8. "Fight For Life" (4:34) opens like some kind of wah-wah-ed ZZ TOP or LED ZEPPELIN song with a three-chord vamp set in place from the first note to support Jean-Luc and Ray Parker, Jr.'s solos. Unfortunately, Ray's solo in the third minute is way too distorted and flanged down. Then around 2:40 there is a very weird sudden gradual speed up--as if the 1950 Ford Fairlane's pedal is put to the metal. Once top speed has been achieved Jean-Luc really flies--like a hungry swallow--while the rhtyhm section holds super tight beneath. A weird song that has some truly awesome parts and some parts that leave me scratching my head. (8.875/10)

Total Time 36:38

B+/4.5 stars; an excellent near-masterpiece of prime Jean-Luc Ponty music--the first to achieve that signatory sound that he would master for the next 20 years. There are, however, still kinks to work out--which makes sense since Jean-Luc has an entirely new entourage of collaborators and a brand new record company. But, the gate is open for his incredible run of 15 years of masterful albums.

JEAN-LUC PONTY Ponty - Grappelli

Album · 1974 · Fusion
Cover art 4.55 | 2 ratings
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FunkFreak75
A gathering of giants: all Ponty compositions performed in a genuine, fully-electrified Jazz-Rock Fusion style and sound.

1. "Bowing-Bowing" (6:28) right from the get-go the sound palette of this band (and recording) has much more in common with the Jazz-Rock Fusion mainstream than Jean-Luc's previous albums. The sounds, structure, chords and melodies all have the warm feel of a peak-era Jean-Luc Ponty composition. Great support from all of the support crew--especially Tony Bonfils on electric bass--though Maurice Vander's piano is almost saccharine suite and André Ceccarelli's drum play is mixed too far in the back (and he plays much harder than is necessary). (9/10)

2. "Golden Green" (4:42) the melodies explored by Jean-Luc and Stéphane here feel like something from a stage musical: they're quite swinging and sweeping and melodramatic in that oh-so romantic way. Quite a lovely uptempo song. (9.25/10)

3. "Memorial Jam For Stuff Smith" (6:54) Stuff Smith was a pioneering jazz musician--a violinist--who also recorded at Hans Georg Brunner-Schwer's studio in the Black Forest but who died a few years before this recording--and artist that both Jean-Luc and Stéphane had worked with. The music is great with more traditional cabaret & stage musical styles being used by all of the instrumentalists. Though there are electrified instruments being used, they sound more like a modern "rock orchestra" in a pit in front of the stage supporting the stage players. Some really nice solos and play here, and even some cool tempo and motif shifts. (13.5/15)

4. "Violin Summit No. 2" (9:56) Shaft-like cymbal play, funky bass and electric piano, and electric guitar "power chords" support the soloing of the two violinists. But then around 1:28 Philip Catherine's blistering electric guitar run signals the band to switch into more of a Soul/R&B rhythm pattern for the motif to support Stéphane's upcoming solo. At 3:19 everybody makes way for Philip to again assert himself with some dirty/raunchy electric guitar soloing. His tone is very much akin to something Ernie Isley is using in his 3 + 3 solos. At the five minute mark Jean-Luc shows up with his fully-electrified and wah-wahed violin for some solo time. The band's R&B funk beneath is so fluid and engaging--and Philip Catherine's lead rhythm guitar play just beneath Jean-Luc is wonderful! Philip's rockin' chord play takes us out of the electric violin solo and then sets us up for what turns out to be an unusually long (for Jean-Luc) solo is given to drummer André Ceccarelli in the eighth and ninth minutes. (90 seconds!) The band then returns to the opening motif for the final 90 seconds. Now this is some great First Wave Jazz-Rock Fusion! (18.75/20)

5. "Valerie" (7:00) a very swinging electrified jazz tune--there's almost a Latin/Smooth Jazz quality to the rhythm pattern--while Stéphane, Philip, and Jean-Luc share the introduction of the lead in a three-musician weave over the first minute. Maurice and Tony are great with their electric piano and electric bass, keeping the song moving at a very nice country-road cruising speed for the light and fresh air solos being expostulated by the trio up top. Again, this is very evolved "First Wave" Jazz-Rock Fusion: some of the first to sound like so much of the Smooth Jazz fare that will take over in the second half of the decade. (One more time I get this distinct, nagging feel that Jean-Luc has "borrowed" someone else's melody to build his song over.) (14/15)

Total time 35:00

After hearing the MPS-produced previous to this one I must admit to being (pleasantly) shocked at the music on this album. At the same time, I'm glad Jean-Luc was able to try out a more loose and dissonant jazz-rock (and get it out of his system) with 1972's Open Strings, but I am quite grateful to hear the more melodic and elegant music here on this album that will become his trademark over the next 20 years. I'm also quite curious to know what 65-year old Stéphane Grappelli thought of the music he was being asked to participate in creating as it must have been quite different from anything that he'd done before. Also, this album contains some of the most impressive Philip Catherine play I've ever heard. And who is and whatever happened to Tony Bonfils?

A-/five stars; a fresh and wonderfully upbeat minor masterpiece of top-notch whole-band performance of First Wave Jazz-Rock Fusion. Highly recommended to any and all lovers of J-R Fusion.

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