js Hadley Caliman is not nearly as known as he should be, but there is one recording he appears on that many have heard many times over the years. Hadley is the lone saxophonist who opens up Santana’s “Caravanserai” album. How many times have you heard that solo with the crickets chirping in the background, it features a lot of Hadley’s signature technique as he works with overtones and split tones. “Iapetus” is one of Hadley’s many albums as a leader, and it is one that should appeal to fans of the psychedelic avant-garde fusion of the early 70s best represented by Herbie Hancock’s “Crossings” album. Along with Hadley, a major player on here is keyboardist Todd Cochran, who went on to play on many jazz, fusion and prog rock albums over the years.

Lets break down the tunes. Opener “Watercress” is dissonant funky fusion, very much in a Miles type mode. “Ambivalence” is a post bop number with a lot of start stop changes and sounds very much like today’s NYC scene. Closing out side one we get, “Dee’s Glee”, which is powered by Caliman’s muscular flute playing as he battles drummer Woody Theus as they move from a loose waltz time into free jazz and back again. Flipping the album for side two, we get the lengthy title track that shifts from free jazz to a post bop walking bass that accelerates in tempo, a pretty bold move for this time period and sounding again like today’s ultra-modern crowd. Next up is the funky African groove of “Quadrivium”, once again featuring Caliman’s power flute backed by three percussionists and Todd’s wah wah spice Fender Rhodes. An abstract ballad with a touch of the blues closes things out.

If you like albums like “Crossings” or Miles’ “Live at the Fillmore”, “Iapetus” is a must have. The playing on here is spirited and creative and so are the arrangements. These guys can do it all, from straight up jazz, to fusion, psychedelic soundscapes and free improvisation too.