js Stanley Clarke's second outing shows him taking on that heavy progressive rock influenced fusion style that he helped pioneer in Return to Forever. This album is good, but it doesn't quite match RTF or fellow rockin fusioneers like Mahavishnu and Jeff Beck when it comes to brilliance and striking compositions. Still, I think most fans of 70s fusion would find a lot to like here. The album opens with 'Vulcan Princess' which recalls RTF's 'No Mystery' with it's weird synth driven futuristic rock/funk. Former RTF guitarist Bill Connors turns in some blazing solos on this one. Clarke follows with a short thoroughly embarrassing vocal number about a Vulcan Princess called 'Yesterday Princess'. Yeah, I don't get it either, best just to remove this song with your pocket knife or straight razor.

Anyway, 'Lopsy Lu' gets us back on track with some great triplet swing funk grooves and a killer bass line that had all the bass players in the world trying to learn how to get that Stanley Clarke thump-pop sound. This is the kind of groove that Jeff Beck and Jan Hammer would exploit big time in their many outings together. 'Power' starts as a decent but somewhat plodding fusion rock song that improves considerably when the band breaks into a high speed ascending chord progression while Bill Connor and Tony Williams tear it up.

Side two opens with the classical/jazz composition 'Spanish Phases for Strings and Bass'. Clarke's string orchestrations are outstanding and highly original, but unfortunately they take a back seat to what sounds like a lengthy string bass solo. The album closes with 'Life Suite', an ambitious mix of driving progressive rock influenced fusion, funk/jazz and semi- classical orchestrations. Some sections of this lengthy number go on a little too long.

With two members of RTF on board, plus Jan Hammer and Tony Williams, it is a pretty safe bet that fans of the electric RTF, Mahavishnu and the later version of Lifetime, as well as any other heavy rockin fusion band, will probably dig Stanley's sometimes brilliant sophomore effort.

Chicapah In the early years of the anything-goes seventies Chick Corea's scintillating and envelope- pushing Return To Forever band attracted jazz/rock fusion fans like lemmings to steep cliffs, ready to leap recklessly into the unknown just for the thrill of the experience. Everyone could recognize that the raised-on-experimental jazz musicians he enlisted to further the cause were incredibly talented but Stanley Clarke, the who-the-heck-is-THIS-guy bassist, stood out like a Zoot suit at a Chinese funeral and enraptured admirers such as myself literally begged for more. In 1974 we got our wish with this self-named solo effort. While arguably coming up a few fries short of a complete happy meal, it still provides plenty in the way of strong doses of electrified jazz/rock fusion to warrant a place on your shelf and repeated plays. Stanley wisely surrounded himself with a trio of capable hot shots (drummer Tony Williams, keyboard maniac Jan Hammer and his former RTF bandmate/guitarist Bill Connors) and headed into Electric Ladyland studios to wreak a little havoc. The first number, "Vulcan Princess," is a high-powered ditty that also appears on Return To Forever's "Where Have I Known You Before" album as "Vulcan Worlds." (I guess he liked it a LOT.) The good news is that he could get away with such shady shenanigans because the song is killer-diller, no matter the moniker. Clocking in at exactly 4 minutes, this is the kind of track that encapsulates all that's great about the genre without belaboring the point. This energy-filled, brass-fortified slice of fusion kicks the front door off its hinges like a SWAT team as Hammer's slinky synth bass line allows Clarke to nimbly peck away in the upper register of his fretboard, adding percussive pops to Williams' dazzling drum work below. Tony is one of the best things about this LP and here he gives you but a small taste of what's to follow. The tune's proggy climax segues smoothly into the obviously- related "Yesterday Princess," a brief but gracefully flowing piece where Jan's acoustic piano and Stanley's upright bass create a serene mood. Clarke also sings a verse or two but it only serves to prove that his voice is unremarkable. Thank God he doesn't overdo it.

"Lopsy Lu" is an up tempo dealie with a "walking" beat that's perfect for a brisk stroll with headphones through the neighborhood to sweat off the excess calories ingested by way of gorging on chocolate icebox pie after supper (although you might want to keep at it for more than the 7 minutes this song allows). There's a faint aroma of the melody from Jimi Hendrix's "Third Stone from the Sun" to be whiffed hither and yon but it's of no consequence as Stanley shows off his amazing mastery of his instrument right off the bat and that's what we came here for, anyway. The musicians allow the number to build steadily via clever interplay between these guys and their acute awareness of the basic principles of dynamics keeps things from spilling over into excess. "Power" is next and it begins with an impressive drum solo from Tony, then slides effortlessly into a straight- ahead rock beat before detouring permanently into Funkytown. First the good news: The perky, ear-catching riff/melody line is the best one on the album and Hammer's Moog solo blazes like a California grass fire. The not-so-good news: Bill Connor's nerve-rattling guitar tone dominates. His too-sporadic, jerky ride is ever so grating and not nearly consistent enough to divert your attention away from the repetitive bass line rumbling underneath. As if recognizing this stagnating situation themselves, the boys finally drop into a monotone, single-chord jam to break things up a tad prior to reaching the abrupt ending.

"Spanish Phases for Strings and Bass" is a welcome change of pace. It's a personal and emotional statement from Clarke as he goes solo on the upright and demonstrates clearly that he's much more than just a gimmicky "bottom slapper." Michael Gibbs' sweet orchestration remains sparse throughout and never becomes intrusive. Very nice music, indeed. "Life Suite" follows and it's the longest, most diverse cut on the album. Part 1 opens with a mysterious aura as the kinetic tension between Jan's piano and Stanley's acoustic bass provides some high drama. Part 2 sees them moving into a peppier pace as strong strings and brass add lightning bolts to the proceedings. Williams finally gets to show his mettle as he slays on the drum kit while the rest of the group stand in awe. And the way his tubs are miked it sounds like you're right there in the booth with him. After that they calm the waters with a slick Latin rhythm where Hammer's hypnotic synth lead manifests pure magic. Part 3 is another short-lived yet beautiful interlude expertly presented. Part 4 incorporates a semi-disco beat (hey, it was all the rage at the time) but that's not the thing that kills it for me. It's Connors' lack of tact. It's admirable that Clarke entrusted him with closing the album and in the early going of his ride his subtle approach is easier to digest but when he cranks up the volume he leaves good taste behind and gets carried away with his John McLaughlin imitations to the extent that you want to snip his Ernie Balls with a wire cutter. Jan and the brass posse arrive late to the wild party but by then there's nothing left but a messy, smoke-filled rec room.

Overall the enthusiasm of the players and the technical difficulty involved in their floor exercises keeps the few flubs and missteps from dragging the endeavor down and the result is a satisfying, fusion-filled journey. There are times when composition-wise it's no more than a glorified jam session with exceptional virtuosos struttin' their top-shelf stuff but when it works, it works big time and a splendid time is had by all. And for Stanley Clarke, the best was yet to come.

FunkFreak75 Bass guitar legend Stanley Clarke's debut foray as a band leader.

Line-up / Musicians: - Stanley Clarke / acoustic & electric basses, piano (2), vocals, brass orchestration (1), Fx, arranger & producer With: - Bill Connors / acoustic & electric guitars - Jan Hammer / acoustic & electric pianos, organ, Moog synthesizer - Anthony ("Tony") Williams / drums With: - String Section of: Beverly Lauridsen, Carol Buck, Charles P. McCracken, David Nadien, Emanuel Green, Harold Kohon, Harry Cykman, Harry Lookofsky, Jesse Levy and Paul Gershman - Peter Gordon, Daid Taylor, Jon Faddis, James Buffington, Lew Soloff and Garnett Brown / brass section - Michael Gibbs / string & brass orchestration (5,6) - Airto Moreira / percussion (6)

1. "Vulcan Princess" (4:00) great whole-band jazz-rock with horn section and a bit of the RTF feel in the rhythm section. How to find fault with this? Maybe it lacks a little in the melody side. And drummer "Anthony" (Tony) Williams doesn't get much chance to shine. (9.25/10)

2. "Yesterday Princess" (1:41) slowed down for Stanley's vocals. (4.75/5)

3. "Lopsy Lu" (7:03) another song which amply displays Stanley, Bill Connors, and Jan Hammer's skills but seems to severely restrain those of Tony Williams. The musicians all feel at such ease that at times it feels as if they're kind of just dialing in their performances--especially Jan By the time we get to the fifth minute it's feeling like a drawn out version of JEFF BECK's "Freeway Jam" (which, I know, came out later). Tony finally gets to show off a bit in the sixth minute but even there it feels dialed in. (13/15)

4. "Power" (7:20) okay, finally Tony Williams gets to show his stuff! A full minute of just him, tout seul! When the rest of the band joins in they settle into a fairly (and surprisingly) steady funk pattern of surprising simplicity. Its spaciousness allows plenty of room for Bill's rhythm guitar and Jan's soloing to be heard even if Stanley's four chord bass line is getting really old. Luckily, he begins to change things up--add riffs and plucks--while the electric guitar and Moog take turns playing around up front. Tony is steady but even he gets lots of room to embellish and fill while Stanley seems to hold down the fort--until the sixth minute, that is, when he starts to get antsy. Then there is a shift in motif at 5:30, this one shifting Stanley's gear up a notch or two as Bill and Jan (now on electric piano) trade solos. This section sounds much more like that which is to come in the next RTF albums. (13.25/15)

5. "Spanish Phases for Strings & Bass" (6:26) opening with two minutes of impressive acoustic bass play, Stanley stops and then Michael Gibbs' string section joins in for a bit to support Stanley, but then disappearing while Stanley goes back to exploratory improvisation on his now-electric bass. Another bridge at 4:15 of strings before Stanley unleashes a fury of chord strumming. I can see how this song might be very exciting and inspiring for other bass players--aspiring and otherwise. I only wish there had been more time committed to interplay/layering of the bass with/within the strings. (13.375/10)

6. "Life Suite" : - "Part I" (1:51) time-keeping piano left hand with bowed double bass and full orchestra. (4.75/5) - "Part II" (4:12) and now we're off to the races. Awesome orchestral support. And bass play. Becomes very Chick Corea-sounding as it goes on. About halfway through there is a switch in motifs as a gentle Latin foundation settles in with very engaging bass and rhythm guitar play over which Jan Hammer performs a very Chick-Corea-like Moog solo. Love the horn accents. (9.125/10) - "Part III "(1:03) a return to swirling piano play with strings and bowed double bass carrying the main melody. (4.75/5) - "Part IV" (6:41) gently repetitive rhythm track once again allows for space for other instruments to solo and for accents and flourishes for those instruments waiting in the wings (for their turns). Bill Connor's first solo builds and builds into what sounds so much like the solos that Al Di Meola will become so celebrated for--and he gets over three minutes to perform! At first warming into his space and spotlight, his solo becomes something for the ages. Now I think I finally understand why this guy is so revered! Even Tony Williams' drumming seems almost lame in support and comparison! Jan Hammer gets the final minute to solo but this has really been a Bill Connors display--and a very giving and selfless act of band leader Stanley Clarke to offer up. (9.75/10)

Total Time 40:31

This is Stanley's album but don't miss Bill Connors' work in the final movement of the "Life Suite."

A-/five stars; a minor masterpiece of Jazz-Rock Fusion.

Steak Handsome This Stanley Clarke album is for me as a newcommer to fusion jazz a real revelation. It has some of the finest drumming I have heard, and nice bass parts which is why I found Stanley Clarke. I have heard almost all the albums of Return to forever and find them very fine, but I like this album more, and find it great all the way. I have earlier listened to Jan Hammer and when it comes to make the keyboard parts great he is almost as good as Chick Corea. All in all this is a great album for new listeners who come from progrock or heavy rock, and if it is given a chance it will be an album that can be heard over and over again.

darkshade Stanley Clarke's self-titled album is a fusion classic. When you pop this one in, you might think you accidentally put a Return To Forever album on, but it's ok. There's some reprises of some RTF material, but played differently. I like that some of the material here has been played by RTF, particularly "Lopsy Lu", which is one of Clarke's best known tunes. Great driving shuffle rhythm. You can't not expect great bass playing on this album, and with a lineup consisting of Stanley Clarke on bass, Jan Hammer on keys, legendary drummer Tony Williams, and one-time Return To Forever guitarist Bill Connors, you're almost guaranteed a great jazz-fusion outing. This is not an album to miss if you're a serious jazz-fusion collector, this is one of the best of the 70s, along with the two Stanley Clarke albums that followed this one. Any fan of Return to Forever needs this album, it's like an extension of the jazz-rock work they did.