Jean-Luc Ponty

 Jean-Luc Ponty is an award-winning violinist who was born in Avranches, France in 1942. Born into a musical family, Jean-Luc advanced quickly, easily, gaining employment in a prestigious orchestra straight out of Paris' Conservatoire National Supérieur de Musique where he'd won Premier Prix of his graduating class. An exposure to the music of Miles Davis and John Coltrane led to his moonlighting at Parisienne jazz clubs. Gaining entry and acceptance within the jazz community proved challenging but persistence, virtuosity, and concert appearances with respected and world-renowned strings players like Stéphane Grappelli, Stuff Smith, and Svend Asmussen led to invitations to perform at the Montreux Jazz Festival in 1967which led to record contracts and albums with Gerald Wilson Big Band and George Duke, and Niels Henning Ørsted Pedersen before the decade ran out. Frank Zappa became so enamored of Jean-Luc's play that he composed (and produced) an entire album for the violinist, entitled King Kong - Jean-Luc Ponty Plays the Music of Frank Zappa (see below). At the same time, Frank convinced Jean-Luc to move with his family to the United States to start working with the Mothers of Invention. Other collaborations in the early 1970s include becoming a part of the second incarnation of John McLaughlin's Mahavishnu Orchestra (1974-75 - for the albums [and tours] Apocalypse and Visions of the Emerald Beyond). Thereafter began a solo career that produced nearly an album per year for the entire span of 1975 through 1992.

     The Ponty electric violin sound and style has become integrally associated with the top tier of Jazz-Rock Fusion and even one of the few mainstay artists who continued to perpetuate the Third and Fourth Waves of J-R Fusion long after the 1970s. Jean-Luc even perpetuated his career by collaborating with several other artists who had also made their names during the heyday of J-R Fusion, including Chick Corea, Al Di Meola, Stanley Clarke, (even as a revamped Return to Forever), Miroslav Vitous, Lalo Schifrin, Bela Fleck, Philip Catherine, Allan Holdsworth, Jon Anderson, and his pianist/composer daughter, Clara. 

JEAN-LUC PONTY King Kong - Jean-Luc Ponty Plays the Music of Frank Zappa (1970)

The landmark collaboration between rock music's only successful jazz-rock fusionist and the ever-expanding, ever-adventurous, boundary-pushing virtuoso violinist. The Frank Zappa-penned (and produced) songs contain all of the jazz- and modern classical-underpinnings and eccentricities that Frank loved to put into all of his compositions--especially during this period of his career--and, of course, they all contained at least some presence of the humor that he was so famous for--in both the music as well as the song titles. 

Line-up / Musicians:
- Jean-Luc Ponty / electric violin, baritone violectra
With:
- Frank Zappa / guitar (4), arrangements
- George Duke / piano (5) & electric piano
- Ian Underwood / conductor (5), tenor saxophone (1)
- Ernie Watts / alto & tenor saxophones (2-4,6)
- Vincent DeRosa / French horn & descant (5)
- Arthur Maebe / French horn (5)
- Donald Christlieb / bassoon (5)
- Jonathan Meyer / flute (5)
- Gene Cipriano / English horn & oboe (5)
- Harold Bemko / cello (5)
- Milton Thomas / viola (5)
- Gene Estes (Harry James. Louis Bellson, Cher, Gene Vincent, The Hollywood Dreamers) / percussion & vibraphone (1,6)
- Buell Neidlinger / bass (1,5)
- Wilton Felder (The Jazz Crusaders) / Fender bass (2-4,6)
- Art Tripp / drums (1,5)
- John Guerin (Buddy De Franco, The Mystic Moods Orchestra, Tom Scott, Gabor Szabo, Seals & Crofts, Joni Mitchell, Jean-Luc Ponty) / drums (2-4,6)

1. "King Kong" (4:54) opens like a sterile, mostly rote playing of Frank's charts--at least, that is, until George Duke's dirty electric piano solo at the end of the first minute. Jean-Luc gets his turn a minute later as George, Frank, Buell Neidlinger, and Art Tripp support with some minimally-miked, poorly engineered funky jazz-rock. Gene Estes' vibes are about the only thing that sound well-rendered. I love the tempo shift beneath Jean-Luc at 4:30. (8.875/10)

2. "Idiot Bastard Son" (4:00) a slow dirge that sounds tongue-in-cheek despite the awesome drumming from John Guerin. Following the charts was surely not an easy task due to the numerous stop-and-changes, but bassist Wilton Fender does an admirable job of remaining melodic and smooth in spite of this. Jean-Luc's playing is as good as might be expected but nowhere as dynamically earth-shattering as they will become in the coming six or seven years. The corny entrance and play of the dragging horn section at the three-minute mark are laughable despite everyone's remarkable synchronization with the complex tempo and melody shifts. (8.875/10)

3. "Twenty Small Cigars" (5:35) slow and deliberate, the weave of multiple melody-holders in Jean-Luc, Ernie Watts, Wilton Felder, and Gene Estes, and George Duke is beautiful with each holding his own but interlocked and interwoven to perfection. A beautiful, fully-realized song. (9/10)

4. "How Would You Like to Have a Head Like That" (7:14) another beautifully rendered song (even in its sound engineering) over which Ernie Watts gets a lot of front time with his alto sax and George Duke Fender Rhodes satisfies in both support/rhythm and lead roles. Frank even gets a solo on this one--wah-wah-ed and not too flashy but fully plugged in. This feels like a song that could very well have inspired Eumir Deodato when he was scoring and pulling together his ensemble for his Prelude album and specifically the "Also Sprach Zarathustra" hit. (13.5/15)

5. "Music for Electric Violin and Low Budget Orchestra" (19:20) A fully-classical composition of the Edgar Varese school of worship (as Frank was a fully-fledge and very vocal member). The first four minutes see the horns and classical orchestral instruments holding the line (under the supervision of Frank's very competent underling, Ian Underwood) while the jazz musicians kind of sit back and listen or minimally support. But then, in that fifth minute, the jazz combo takes over, with acoustic instrumentage--including a wonderful George Duke piano presence. (This is such a revelation of his extreme talent! Makes me want to hear more of his stupendous piano playing!) Jean-Luc, of course, is also present, in lead and support. At 8:25 there is a break and then the start up of a third movement--this one returning to the use of the orchestra, but here in an accompaniment role as Art Tripp's drums, Buell Neidlinger's bass, George's piano, and Jean-Luc's violin continue: it's just that everyone in the orchestra kind of doubles up or accents the jazzers' play. The entrance and presence of electric piano, electric bass, and electric piano is noticeable in the 12th minute as the "distant" electric piano sounds very much like those on Miles Davis' Bitches Brew.  This opens up a kind of avant/free jazz spell before every falls back into gentle melody-making around the 12-minute mark. But then things get loose and chaotic again by the end of the 13th minute. At 13:18 a low squirt from Ernie Watts' tenor sax signals another shift: this one to piano and vibes-led frenetic percussion play over which the rest of the orchestral mostly contributes smooth, calming chords (until they don't). The final movement begins at 15:17 as the instrumental palette returns to jazz combo-orientation, but the orchestral members remain on high alert for their near-constant contributions of subtle support and fill. Despite the feeling of smoothness here, the music is nowhere near simple--as the rhythmically-complex 18th minute soon shows in spades. The finish then sounds like a parody of some pompous British processional, though Jean-Luc and the pacifying orchestra get to play the rather beautiful final notes. I have to say: I love Frank Zappa's "classical" and jazz compositions!  This one stands right up there with all the rest: like a more-serious "Lumpy Gravy." (38/40)

6. "America Drinks and Goes Home" (2:39) a real Jazz/New Orleans jazz feeling song with George Duke again playing acoustic piano with John Guerin's drums, Wilton Felder's bass, Gene Estes' vibes, and Jean-Luc's very disciplined violin all helping to realize this very complex, very stop-and-go composition. (4.375/5)

Total Time 43:42

91.81 on the Fishscales = A-/five stars; another minor masterpiece from Frank Zappa and his jazz orchestra. Though Jean-Luc gets the top billing, this is really the result of Frank's creative artistry. Highly recommended--especially for those who, like me, love Frank's music compositions yet can be turned off by his often sophomoric lyrics; this one's all instrumental!  

The JEAN-LUC PONTY EXPERIENCE Open Strings (1972) 

Recorded at MPS studios in Villingen, Germany (one of two albums Jean-Luc recorded with engineer/producer Hans Georg Brunner-Schwer for the MPS label), the sound palette of the album is much closer to those of classic jazz of the Sixties with a little free-jazz and Tony Williams-like energy thrown at us. 

Line-up / Musicians:
- Jean-Luc Ponty / violin, composer (excl. 5)
With:
- Philip Catherine / guitar
- Joachim Kühn / piano
- Peter Warren / bass
- Oliver Johnson / drums

1. "Flipping, Part I" (4:38) McCoy Tyner-like piano opens this as a oboe/soprano saxophone-sounding violin joins in bringing in the melody over the top. Traditional jazz-sounding drums and double bass join in, filling out the sonic field. This sounds a lot like a variation on John Coltrane's "A Love Supreme." Joachim Kühn's four-chord piano motif is so robotic while Jean-Luc's rudimentarily-electrified violin is way too loud in the mix, between the two of them I can barely hear the much more dynamic and adventurous drums and bass. (I wish the engineering mix had been better.) Obviously, Jean-Luc's John McLaughlin-like violin style was at play here--and his compositional acumen had not matured beyond imitation yet: it's all imitative. And I definitely can hear no presence of guitar here. (8.66667/10) 

2. "Flipping, Part II" (10:38) There's the guitar! While I really like the country-folk sound of Jean-Luc's violin, I appreciate more the active interplay of the background musicians: even though they are quite interactive, they blend and weave exceedingly well no matter who is in the lead position (Jean-Luc, Philip, or Joachim). I find Joachim's play to be the most intriguing and enjoyable as he has a wonderful way of using space within and between his phrasing. (Not unlike Rainer Brünignhaus in a few years.) As a matter of fact, the more sparse the instrumental palette, the more interesting and beautiful are the solos being played. (The second half.) (17.875/20)

3. "Flipping, Part III" (5:31) this section of the song suite is dominated by the unusual phenomenon of a violinist plucking and strumming--aggressively--his instrument while an electric guitar solos away with him and, later, over the top. Though not always very melodic, this section is very interesting! And Philip Catherine shows his guitar skills and maturing command of free-form jazz in his often atonal and dissonant yet technically-skilled solos. Unfortunately, the contributions of Peter Warren, Oliver Johnson, and Joachim Kühn feel random, disconnected, and almost wasted. (8.75/10)

4. "Open Strings" (14:50) this song opens with two tracks dedicated to Jean-Luc's solo violin, but then the piano-based rhythm section band joins in (still based within acoustic instrumentation), at first supporting Jean-Luc but then becoming more boisterous and dynamic as Joachim takes the lead. Again, there is a rather "wild" and joyful "freedom" being expressed by the band despite a very solid (and sometimes familiar) melody being the foundation upon which the entire song revolves. Jean-Luc's mic'ed violin is never really far from sounding melodic or "pretty"--except when he purposely slurs a note into flatness or sharpness--whereas Joachim, Peter, Oliver, and, later, Philip's allegiance to said melody is far less obvious. (Philip's only presence is felt in his solo during the 11th minute; I do not hear his presence at all as part of the rhythm section.) But: Free jazz? Not seriously--especially not if one is listening to the bandleader. That first "full band" frenetic section and the duplicate end section could be construed as such, otherwise the band is just "stretching their legs." (26.5/30)  

5. "Sad Ballad" (4:12) the lone Joachim Kühn composition starts out with the band gently supporting Jean-Luc's violin playing a slow, plaintive melody, but the music enters the "open field" in the middle with each musician going totally off book before coming back together for an end that mirrors the beginning. I like the main motif; it definitely previews many of Jean-Luc's more memorable melodies in future albums. (8.875/10)   

Total time 39:49

I was not expecting the sound palette to be so close to acoustic jazz: Jean-Luc had obviously not yet discovered the synthesized effects and electric collaborators that he became so famous for later. The music of Open Strings does not feel quite as free and loose as many reviewers have disparagingly affixed to it: there is plenty of structure, discipline, comradery, and even melody on display here. Also, this is not the first time that Jean-Luc would gravitate to the side-long suite form as he did here for "Flipping"; as a matter of fact  several times in the Seventies--and get better at it with each attempt.

88.71 on the Fishscales = B/four stars; an album of alternatingly entertaining and irritating songs and motifs all presented with impressive musicianship and respectable improvisational acumen. Ultimately, however, this qualifies as one of my least favorite J-L P albums. 

JEAN-LUC PONTY - STÉPHANE GRAPPELLI Ponty - Grappelli (1973)

A gathering of giants: all Ponty compositions performed in a genuine, fully-electrified Jazz-Rock Fusion style and sound.

Line-up / Musicians:
- Jean-Luc Ponty / violin (1,3,5), viola (2,4), arranger
- Stéphane Grappelli / violin (1-4), viola (5)
With:
- Philip Catherine / guitar (4,5)
- Maurice Vander / acoustic & electric pianos (2,3)
- Tony Bonfils / bass
- André Ceccarelli / drums (4)

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?

92.14 on the Fishscales = 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.

JEAN-LUC PONTY Upon the Wings of Music (1975)

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!)

Line-up / Musicians:
- Jean-Luc Ponty / acoustic & electric violins, Violectra, strings synthesizer (3), arranger & producer
With:
- Patrice Rushen / piano, electric piano, organ, clavinet, synthesizer
- Dan Sawyer / guitar (excl. 8)
- Ray Parker, Jr. / guitar (4 & 5-solos, 8)
- Ralphe Armstrong / bass
- Leon "Ndugu" Chancler / drums, percussion, Roto toms

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

89.375 on the Fishscales = 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 Aurora (1976)

Teaming up with youngsters Daryl Stuermer (age 23), Patrice Rushen (21), and ex-Mother of Invention bass player Tom Fowler (who was only 25 years old) resulted in Jean-Luc's first successful solo foray into the burgeoning market of Jazz-Rock Fusion. After brief but intense stints with Frank Zappa's Mothers of Invention and John McLaughlin's Mahavishnu Orchestra (Second Incarnation), the French violin virtuoso had a pretty good idea of the directions he wanted his career and music to go. The album was recorded in California at Cherokee Studios in Los Angeles in December of 1975 and then released by Atlantic on February 26 of 1976.

Line-up / Musicians:
- Jean-Luc Ponty / acoustic & electric violins, Violectra, autoharp, arranger & producer
With:
- Daryl Stuermer (future GENESIS/PHIL COLLINS) / acoustic & electric guitars
- Patrice Rushen / acoustic & electric pianos, synthesizer
- Tom Fowler (IT'S A BEAUTIFUL DAY, FRANK ZAPPA & THE MOTHERS OF INVENTION) / bass
- Norman Fearrington (MFSB, BILLY PAUL, future EDDIE HARRIS) / drums, percussion

1. "Is Once Enough?" (4:52) a fast cruisin' song that band leader Ponty graciously gives first dibs on extended solo time to his newbies: first to a very impressive Daryl Stuermer and then to keyboard virtuoso Patrice Rushen. A song that very much reflects Jean-Luc's recent experiences with both Zappa and the Mahavishnu Orchestra. (9.5/10)

2. "Renaissance" (5:45) an all-time great song of Jean-Luc's that harkens back a bit to his youth and to his fairly recent acoustic collaborations with Stéphane Grappelli. One of the things that makes this song so wonderful is the long drawn out melodies being played up front over the amazing bass melodies coming from not only the bass but Patrice Rushen's left hand and Daryl Stuermer's rhythm guitar support. (10/10)

 
3. "Aurora, Pt. 1" (2:45) innocuous and trite, mostly for the bouncy little keyboard sound and pattern that plays repetitively over the course of the song. This alone might not be so irksome were it not for the fact that it sits up front the entire time. Nothing special in the solos. Nothing special in the groove. Could've thrown this one away. Perhaps it served the band as an exercise in integrating and merging the sounds and styles of the five personalities involved with the making of this album. I would not be surprised to find out that this was the first song worked on when the band first got together. (4.25/5)

4. "Aurora, Pt. 2" (6:11) a smooth, easy going song that portends a lot of J-L P songs in the next decade. Nice shredding from Daryl on his own in the fourth and fifth minutes, but more impressive is the way he and Jean-Luc double up on harmonic paths at hyperspeeds on several occasions. Impressive but not as great as the first two songs. (8.875/10)

5. "Passenger Of The Dark" (4:14) has a kind of Canterbury feel to its opening, but then we go into an interesting "future funk" kind of sound with semi-funky bass and oscillating synth/violin notes weaving a patttern together with the drums that plays for the first two minutes over which Daryl starts out with an aggressive rock-like solo. In the softer, more spacious third minute Jean-Luc experiments with some of his new electronic/synthesized violin sounds--some of which his audience become quite familiar over the course of the next decade. I'm not sure why Patrice has been given almost exclusively background support roles for the past two songs, but it's noticeable. (8.75/10)

 
6. "Lost Forest" (5:23) roilling piano arpeggi and ocean-shore-like cymbal play opens this one while Jean-Luc presents his synthesized violin sound. In the gorgeous, rich full-band motif that develops Tom Fowler's effected (underwater) bass sound is awesome. Jean-Luc introduces the song's main theme before bowing out to let Patrice express her own ideas/variations with a Fender Rhodes. Then, in the fourth minute, Jean-Luc resumes his place at the fore with a typically melodic and dynamically impressive solo, which then is doubled up in the recapitulation of the opening theme with Daryl's guitar while Patrice plays around a bit from underneath. Such a cool song and songscape! Arise: Master of the Hypnotic Fairie Beauty! (9.125/10)    

7. "Between You And Me" (5:54) a melodic song that somehow lets bassist Tom Fowler lead the way!(?) Pretty awesome. Though not funky, it is a catchy groove that Tom, Patrice, and drummer Norman Fearrington present and hold fast. Jean-Luc's electric violin seers an impressive solo in the first slot. When the band recongeals, it is with the same jazzy weave that Tom's bass lead us in with. Next up is Patrice with a very warm and smooth Fender Rhodes solo (the whole song is warm and almost smooth). Jean-Luc reclaims the spotlight for the next verse for a brief solo before calling the band back in for another go-round of the opening weave. Nice. (9/10)

8. "Waking Dream" (2:24) pensive piano chord play opens this before electric bass and electric violin and electric guitar join in to co-present an interesting melody--one that at first is perfectly harmonized by Tom's bass lines but then see him fall into a kind of one-bar counterpoint. Nice. (4.425/5)  

Total Time: 37:28

Despite the fact that I owned this album back in the day, it feels fresh to me today, and yet, at the same time, revelatory of many of Jean-Luc's consistent future patterns and tricks of his trade. It was the next studio album, Imaginary Voyage that hooked me in as a devoté (and concert attendee) over the next ten years. I've also watched with no small sadness at the way keyboard virtuoso Patrice Rushen's career has slowly been whitewashed of her keyboard talent in place of her success as a singer. I've always loved her warm keyboard playing. I would think that this album helped significantly to serve each and every one of the performers in advancing their careers.

91.32 on the Fishscales = A-/five stars; a minor masterpiece of Jazz-Rock Fusion, the first of a long line of them for this J-R Fusion master.

JEAN-LUC PONTY Imaginary Voyage (1976)

The first album into my Jean-Luc Ponty collection and still a favorite, Imaginary Voyage was recorded at Kundun Studios in Burbank, California in July and August of 1976 and then released by Atlantic in November.

Line-up / Musicians:
- Jean-Luc Ponty / Electric & Acoustic Violins, Organ, Synthesizer, Arranger & Producer
With:
- Daryl Stuermer / Electric & Acoustic Guitars
- Allan Zavod / Piano, Keyboards
- Tom Fowler / Electric Bass
- Marc Craney / Drums & Percussion

1. "New Country" (3:07) what a way to show off the collective skills of the new crew! Daryl Stuermer impresses from the get-go! (9.5/10)

2. "The Gardens Of Babylon" (5:06) on of the 1970s most beautiful jazz-rock instrumentals--a harbinger of the Smooth Jazz and Adult Contemporary Music that would become so radio popular in the late 70s and 1980s. (10/10)

3. "Wandering On The Milky Way" (Violin Solo) (1:50) a precursor to my favorite J-L Ponty song of all-time, "Cosmic Messenger," as well as to the "George Romero" solo on 1984's Individual Choice. (4.375/5)

4. "Once Upon A Dream" (4:08) very pleasant and engaging/melodic jazz-rock. Some great bass and keyboard play from Tom Fowler and Allan Zavod, respectively. (9/10)

5. "Tarantula" (4:04) more on the rock side of things, not the Tango I was expecting. A little too static and repetitive in the support of J-L's violin work. (8.666667/10)

6. "Imaginary Voyage" :
- a. Part I (2:22) a play on RTF and Mahavishnu (4.425/5)
- b. Part II (4:05) a more laid back, slow cruisin' song--quite typical of one to two songs per album over the next ten years for Jean-Luc. Nice spaciousness given Allan Zavod for his solo in the second half.(8.75/10)
- c. Part III (5:28)  a song with a little more evenly-parsed musical expression: everybody is on high-gear throughout and the solos all excel. (9/10)
- d. Part IV (8:00) the catchiest part of the suite and, therefore, the highlight. Great solo from Daryl, great bass work from Tom Fowler, and, of course, Jean-Luc. (14/15)

Total Time 38:10

My introduction to the world of Jean-Luc Ponty, I am still a huge fan of the opening two songs, "New Country" and "Gardens of Babylon"--the latter being one of the most gorgeous and emotional songs from the classic era of progressive rock and a progenitor of the Smooth Jazz movement while the former represents pure fun and unadulterated joy. The side-long "Imaginary Voyage" suite on Side Two was always a bit inaccessible to me until I recognized the tremendous similarities to the music of one of my favorite 1970s prog albums, 1974's Todd Rundgren's Utopia, as well as a melodiousness similar to the same period's work of WEATHER REPORT. The album as whole offers great contributions from all of Jean-Luc's session men--especially keyboardist Allan Zavod, fledgling guitarist Daryl Stuermer, bassist Tom Fowler and drummer Mark Craney (who would go on to serve Jean-Luc, Niteflyte, PhD., Jethro Tull, Dana, Headpins, Tommy Bolin, and Gino Vanelli each on multiple over the next three decades and for whom Imaginary Voyage represents the 22-year old's first studio album). Then there is Jean-Luc himself: Really, folks, has there ever been anyone with a more beautiful, creative, and dynamic contribution to the place of violin in rock music much less jazz, jazz fusion, and progressive rock? I would argue that there is not.

91.43 on the Fishscales = A-/five stars; a minor masterpiece of jazz-rock fusion and one of my all-time favorite Jean-Luc Ponty albums.

JEAN-LUC PONTY Enigmatic Ocean (1977) 

This was the first of Jean-Luc Ponty's true jazz fusion masterpieces (though many will argue on behalf of Aurora and Imaginary Voyage). It's funky (as was the soft jazz of the time) and well displays the virtuoso talents of several of its young contributors--including super guitarists Daryl STUERMER (just before he left to take on a life-long GENESIS/PHIL COLLINS gig) and Allan HOLDSWORTH, bassist-extraordinaire Ralphe ARMSTRONG, keyboardist Allan ZAVOD, and drummer STEVE SMITH. Many place their attention on the title suite but I've always found that I much prefer both "Mirage" (4:23) and "Nostalgic Lady" (5:24) to the two suites--both of which put on display much of the electronic effects that will become Jean-Luc's signature sound(s) for years to come as well as this groovy, almost dreamy rhythm structure and pacing. This is a pretty great album, but I still hold strong in my feeling and belief that Ponty's best album is the next one, Cosmic Messenger with Individual Choice being his second best--these two having, IMHO, much better sound production than Enigmatic Ocean.

Line-up / Musicians:
- Jean-Luc Ponty / 4- & 5-string electric violins, violectra, piano (5), bells, conductor & orchestrations, producer
With:
- Allan Holdsworth / lead electric guitar
- Daryl Stuermer / lead & rhythm electric guitars
- Allan Zavod / clavinet, piano, electric piano, synthesizer, organ
- Ralphe Armstrong / bass and fretless bass (5)
- Steve Smith / drums, percussion

1. "Overture (0:47) great intro/opening. (4.75/5)

2. "The Trans-Love Express" (3:56) great groove with everybody clicking and in sync. Nice sound engineering--though the keyboards sounds will be better in the future albums. (8.875/10)

3. "Mirage" (4:54) hypnotic and beautiful--especially the sound of Jean-Luc's heavily-effected electric violin. (9.25/10)

4. "Enigmatic Ocean"
Part I (2:20) synth and percussion opening to which Jean-Luc and, later, the rest of the band are added. The establish some fair groundwork for the suite (4.375/5)
Part II (3:35) a fast pace does not guarantee a great song: technical skill is certainly on display, but melodies are certainly lacking. (8.875/10)
Part III (3:43) the funky side, of course. Daryl's work on rhythm is exemplary. Allan is beyond reproach. (9/10)
Part IV (2:24) a nice closing to what never really felt like a suite of connected movements.  (8.875/10)

5. "Nostalgic Lady" (5:20) another beautiful song with great melodic sensibilities expressed from Ralphe, Allan and Jean-Luc. (9.25/10)

6. "Struggle Of The Sea Turtle"
Part I (3:32) one of the most purely perfect and original of Jean-Luc's songs here. Perfect balance between the band members. (9.5/10)
Part II (3:33) using some of the melodic hooks of "Part I" the band chugs along--interestingly, at a variety of speeds. Steve Smiths best drumming on the album. (9/10)
Part III (6:05) opens with Ralphe's coming out party. Then Allan gets his turn with a weird synth. Daryl gets a solo but is then followed by Allan--who is so smooth and amazing it makes Mr. Stuermer look amateurish--which is sad cuz he is not. And the the song--and the album--just suddenly fades out! It's over! And it makes no sense! (8.875/10)

Total Time 45:00

91.18 on the Fishscales = A-/five stars; a minor masterpiece of proggy jazz-rock fusion. The album has some great individual performances but lacks the amazing flow and sound engineering of the next album. 

JEAN-LUC PONTY Cosmic Messenger (1978) 

I am fortunate to have seen J-LP a few times in concert in my lifetime--and this tour was the first of them. The concert's opening is forever etched in my mind as one of the most amazing concert memories of my life. Opening with the album's title song, Jean-Luc proceeds to strike such unearthly sounds--more like screams--from his electric violin that people on the floor were literally covering their ears, turning this way and that with panicked expressions on their faces, trying to figure out where this never-before-experienced sound was coming from. It was incredible.

Line-up / Musicians:

- Jean-Luc Ponty / acoustic & electric violins (4- & 5-string), organ, synthesizer, Orchestron, producer

With:

- Joaquin Lievano / electric & acoustic guitars

- Peter Maunu / electric & acoustic guitars, guitar synthesizer

- Allan Zavod / acoustic & electric pianos, organ, synthesizers

- Ralphe Armstrong / fretted & fretless basses

- Casey Scheuerell / drums, percussion

1. "Cosmic Messenger" (4:38) will always be my favorite Jean-Luc song because of the-above-noted amazing concert reproduction. The rhythm section is so tight here--too bad most Americans have never heard of these individual musicians cuz they're great. (10/10)

2. "Art of Happiness" (4:33) great bass and guitar play on this pretty-one dimensional song. (8.75/10)

3. "Don't Let the World Pass You By" (6:23) great synth start with guitars fading into the weave. Drums and bass elbow their way in before lead electric guitar and bass double up to bring in the melody line over a 90-second arc. The band then shifts gears and direction into a very tight hard-drivin' groove within which Alllan Zavod gets the first solo--about a minute's worth of synth magic before he (or Jean-Luc) switches to another synth for yet another minute of great stuff. Then, at 4:10, Jean-Luc is allowed to finally step in with his electric violin. He is so good: taking Zavod's stuff and putting it to shame! An Allan Holdsworth-sounding electric guitar gets a chance at 5:20 with Zavod competing with him just beneath. Great song. Everybody chugging along on full cylinders. (9.5/10)

4. "I Only Feel Good With You" (3:05) a stunningly beautiful song (as Jean-Luc was able to do more than any other J-R Fuse artist), synths and keys over gently-supporting rhythm play from Armstrong and Scheuerell and the rhythm guitarists. (9.75/10)

5. "Puppets' Dance" (3:40) never a favorite as Jean-Luc allows his band to take the Funk Road. Ralphe is good here, but the cowbell is too much. Guitars and violin weave together at first but then back off for Ralphe to show off a bit before returning for a recapitulation of their weave before backing down for Jean-Luc to soar away on his e-violin. (8.66667/10)

6. "Fake Paradise" (5:41) the opening 20-second weave sets up a great foundation for the guitarists and violin to have their time in the sun. Ralphe Armstrong is great. At 1:10 everybody remains steadfast over a suddenly shifting rhythm track. Interesting! Then the band returns to the first weave for a synthesizer  to take the first solo. Same rhythmic shift at 2:37 (must be intended as the "chorus") but this is when one of the electric guitarists is given the nod. At 3:55 everybody goes back to motif #1 for Jean-Luc's turn. (8.875/10)

7. "Ethereal Mood" (4:03) another one of Jean-Luc's hauntingly majestic beauties. Keys, guitar, bass, congas, second acoustic guitar, strumming, and then soaring electric violin à la the title song. At 1:34 Jean-Luc recommences his melodic solo but then, at 1:55, there is a wonderful short-shift of guitar strumming before everybody returns to the normal for some loose atmospheric violin play. The dramatic "short-shift" occurs two more times, at 2:49 to 2:57 and 3:08 to 3:18, to great effect as Jean-Luc continues to let us think he's fading off into the cosmos. Great song. (9.75/10)

8."Egocentric Molecules" (5:44) a high-speed classic--Casey Scheuerell's best--with one of the electric guitarists stepping up to take the first solo. After a reset bridge at the end of the second minute Ralphe Armstrong ably steps up to the fore giving us an electric bass solo for the ages. Wow! 3:10 reset. Now it's Jean-Luc's turn. Can/Will he be able to top Ralphe's amazing solo? I don't think so but he comes close, he just doesn't match Ralphe's two-note-at-a-time play. At the end of the fifth minute Ralphe's given room to go again, but he holds back due to the horn-like synth at play in the lower end. Incredible tune! Makes one realize how we've been holding our breathes for the past six minutes! (9.75/10)

Total Time 37:47

P.S. Has anyone ever considered all of the guys Jean-Luc has stood toe-to-toe with? Stephane Grappelli, Frank Zappa, George Duke, John McLaughlin, Narada Michael Walden, Jan Hammer, Alan Holdsworth, Daryl Stuermer, Peter Maunu, Joaquin Lievano, Al DiMeola, Stanley Clarke, Ralphe Armstrong, Randy Jackson, Rayford Griffin, Monty Alexander, Patrice Rushen and many more. He must be quite respected on his instrument in order to attract this kind of company.

93.18 on the Fishscales = A/five stars; a masterpiece of fully-electrified, amazingly engaging, Jazz-Rock Fusion--definitely a Top 5 Album from the "Third Wave" of prog's "Classic Era."

JEAN-LUC PONTY A Taste for Passion (1979)

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. 

Line-up / Musicians:

- Jean-Luc Ponty / violin, organ, acoustic & electric pianos, orchestration, producer

With:

- Joaquin Lievano / acoustic & electric guitars, guitar synth

- Jamie Glaser / guitar

- Allan Zavod / keyboards, synth & programming

- Ralphe Armstrong / fretless bass

- Casey Scheuerell/ drums, percussion

- Allan Gelbard / synth programming

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)? 

89.26 on the Fishscales = 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.