John Lee & Gerry Brown

Unlike any other bands or musicians outside of the "Bitches Brew" circle of progenitors, John Lee and Gerry Brown get it: They understand fully and completely that which Jazz-Rock Fusion is about; they unleash music that is fully in line with the fullest potential of the Jazz-Rock Fusion medium as defined by the architects of the "Third Wave"--which includes likes of Herbie Hancock with his Headhunters, John McLaughlin with the second incarnation of his Mahavishnu Orchestra, Chick Corea, Stanley Clarke, Al Di Meola, and Lenny White with their Return To Forever and initial solo projects. With this impetus, John and Gerry move toward and lock into the Jazz-Funk and Funk-Rhythm & Blues branches that lure many Jazz-Rock Fusion artists away from center. But they seem to always produce amazing, full arrangements for their songs, facilitated by the invariably-stellar musicians they seem to attract (or contract).

The dynamic duo met in high school in their hometown of Philadelphia, John gigging with the likes of Carlos Garnett, Joe Henderson, Pharoah Sanders and Max Roach while attending the Philadelphia Music Academy, Gerry getting to play with Roland Kirk. In 1971, they moved to New York City together, sitting in with many jazz artists, with John getting set up with Lionel Hampton for a spell. Upon meeting Herbie Hancock, the keyboard master recommended the frustrated duo hook up with Herbie's "kindred spirit" and friend, flutist Chris Hinze, in The Netherlands. The duo became Chris' rhythm section for a series of three albums over the next four years while also being asked to sit in on studio recording sessions with a veritable who's who of Dutch and German jazz artists, all of whom were excitedly exploring the jazz-rock electric fusion thing. These included Wim Stolkjwik, Charlie Mariano's Cascade, Jasper van't Hof's Eye Ball, Joachim Kühn's Cinemascope, Toots Thielmann, three Philip Catherine albums, and guitarist Toto Blanke's Spider's Dance. It was, interestingly, the band's hire for a recording session for an album by Polish-born Michal Urbaniak that prompted the duo's return to the United States--for more sessions with Michal and wife Urzsula Dudziak for Arista Records. By this time they'd had time (and Chris Hinze's support) to pull together material for an album of their own, released as Infinite Jones in 1974. Now becoming in demand on both sides of the Atlantic, the band continued to do session work while also maintaining their own band in Europe, releasing a second album, 1975's Mango Sunrise, that was recorded and produced in Brussels, New York, and San Francisco before being mastered at Columbia Studios and released by Lauralee Publishing through Blue Note Records. A brief two-album stint with Larry Coryell's Eleventh House project in 1975 and 1976 led into the duo's third album release, Still Can't Say Enough (1976) before a spell in which the two went their separate ways to gig for many artists. Still they managed to produce another funk-R&B album in 1978, this time using the moniker "Medusa" as both a band name and album title. The album pretty much displayed the same styles and sounds that they had used on Still Can't Say Enough. They came back together in 1979 for their final album as duel headliners, the heavy rocker, Chaser, before releasing a ensemble-entitled album in 1981 with a few members of the same cast that they'd been using since Mango Sunrise: John, Gerry, and guitarists Darryl Thompson and Eef Albers. It was entitled Brothers.

CHRIS HINZE COMBINATION Virgin Sacrifice  (1972)

An album of jazz-tinged, classical music-inspired easy listening songs on which Dutch flutist Chris Hinze enlists the support of a skeleton crew of jazz-oriented musicians--two of which hail from the United States--to mete out his slightly experimental, totally-personal vision. It seems obvious to me that Chris had substantial financial backing because A) he produces a quick array of self-led albums here in his Dutch home in his 30s, gathering around him up-and-coming artists who were probably paid well for their assistance in supporting and legitimatizing Chris's personal crusade to bring the flute and classical music themes and styles to a broader, more radio-friendly number of consumer/listeners and then helps B) produce (financially back) projects by those who had helped him (Wim Stolwijk, John & Gerry, Sigi Schwab, Jasper van't Hof, Toto Blanke, Joachim Kühn, Philip Catherine, and more)--even giving them studio time in his own private studio, Keytone Studios, for his own private record production company (Keytone).

     Perhaps Chris had been part of an orchestra or done graduate studies in the 1960s and was now ready to make manifest the ideas he'd come up with in his 20s. Perhaps he'd suddenly come into a substantial amount of money. We do know that he was born in Dutch Indonesia but that his family was forced to move (several times) due to the effects of World War II. Back in Europe, he trained as a classical pianist (in the tradition of his world-renowned orchestra conductor father) but quickly moved toward jazz--the medium by which he first became known for his concert performances in the late 1950s and early 1960s. We also know that he was part of a Big Band jazz band with revered band leader, Boy Edgar in 1966. We also know that he apparently became enamored with the flute and decided to return to school in his late 20s for training in such: first at the Royal Conservatory in The Hague and then in Boston at the Berklee College of Music.

     On Virgin Sacrifice, the American expats he acquired thanks to friend and "kindred spirit"ª Herbie Hancock, John Lee and Gerry Brown, are not even required for every song, and when they are it is rarely with the hard bop or heavy dynamic contributions they might have been hoping for: their performances are more supportive and space-saving rather than filling or free form. As a matter of fact, John is mostly relegated to upright double bass and Gerry is asked to do mostly cymbal and brush work support (when he's asked at all).   

Line-up / Musicians:
- Wim Stolwijk / electric piano, spinet
- Luc Ludolph / engineer
- CBS Studio, Holland / design concept
- Ruud Jacobs / producer
- Kees De Jong / photography
- Gerry Brown / percussion, drums
- Chris Hinze / writing, arrangements, flute, alto flute, organ
- Joop Van Reede / liner notes
- John Lee / bass

1. "Roman Frescoes" (4:00) completely derivative of 
2. "Virgin's Sacrifice" (3:26)
3. "A Collection Of Potsherd" (3:20)
4. "The Viking Ships Of Roskilde" (2:30)
5. "Oak-Leaf" (4:23)
6. "Statuettes Of Children" (2:08)
7. "The Rune-Stone Of Haitabu" (2:55)
8. "The First Wheel" (2:38)
9. "The Shifting Sands Of Mantinge" (3:26)
10. "Eros & Psyche" (3:00)
11. "Frisian Mounds" (3:43)
12. "Cult-Bowl" (2:57)
13. "Bamboo Feelings" (1:45) the weirdest and worst song on the album.

Total Time 40:11

This is all very pleasant, very pretty music--much of which has been gleaned from masterpieces of classical music world as well as some contemporary modern day pop and cinematic composers (like Burt Bacharach) as well as some international/"world music" melodies and themes. I am especially impressed with the versatility and perfect fitting touch of keyboard artist Wim Stolwijk as well as with the double bass support play of American expat John Lee. I'm a little put off by Chris's claim of full compositional credit for the entirety of the album when there are so many themes so blatantly borrowed or at least modified for his own "compositions." At least there could be some liner notes crediting the songs and artists who inspired each of his own "compositions." I do, however, LOVE and respect his musical appreciation for and adventurous spirit for trying to learn and work with musicians from many ethnic musical traditions over the course of his long career--including those of Africa, Asia, Southeast Asia, and the Indian subcontinent--even moving into fully-improvisational music performances over the last 30 years--his seventh, eighth, and ninth decades on the planet!!! On November 5, 2023 Chris gave his last live concert performance at a sold-out Concertgebouw in Amsterdam--at the age of 85!

ª Herbie's words.

CHRIS HINZE COMBINATION Mission Suite (1973)

The first album in which Chris's solo work reflects a new direction--one away from the pastoral easy listening personal renderings of famous folk, popular, and classical themes. Something has got under Chris's skin and he is ALL ON BOARD with that Jazz-Rock Fusion thing! 

Line-up / Musicians:
- Cees See / percussion
- Wim Van Der Beek / percussion
- Henny Vonk / vocals, percussion
- Chris Hinze / composition, piccolo flute, producer, arrangements, flute, alto flute
- Gerry Brown / drums
- John Lee / bass, composition, arrangements, electric bass
- Rob Van De Broeck / electric piano
- Sigi Schwab / guitar, guest, twelve-String guitar, electric guitar

1. "Di-da-de-lu-da" (8:08) Chris must have heard the music and work of Michal Urbaniak and his stunning vocalist wife, Urszula Dudziak, because this song bears a very strong resemblance to the music that these two had been making in Germany before they emigrated to the United States (in September of the very year this album was released). (The Urbaniaks had, in fact, recorded an album at Keytone Studios in this same year.) This is full-pm Jazz-Rock Fusion, noting the fact that not only was Chris paying attention to what was going on in the music world around him, but that he was listening to his collaborators, interested in growing and trying new things, and a very quick study of new styles. The sophistication and maturity of this song when compared to the music on his previous albums is truly remarkable. And John Lee and Gerry Brown and the other jazz-oriented musicians on board must have been very pleased to be "let loose" to play with the reckless abandon that was all the rage in the Jazz-Rock Fusion world. (13.75/15)

2. "Mission Suite" (14:50) very high octane First Wave Jazz-Rock Fusion, at times feeling like an amped up Miles Davis session for Bitches Brew, at others sounding very much like Mwandishi-era Herbie Hancock. Hearing John Lee let loose on his double bass during the middle section is awesome, with the gentle yet-supportive electric piano of Rob Van De Broeck. This is then followed with some unaccompanied solo electric piano. Henny Vonk's haunting Flora Purim-like vocalese returns--as does Gerry Brown's cymbal and light tom-tom play, as Rob Van De Broeck continues putting us to sleep. Chris's flute returns in the fourteenth minute to help take us to the end. I am here reminded of yet another "new direction" Chris has committed to with this album, and that is a more collaborative democratic leadership style. On his previous album releases Chris was almost never not in the lead, used supplemental musicians as mere "atmospheric thickeners" for the support of his flute. Now, this is not my favorite kind of Jazz-Rock Fusion: it's too loose and unstructured, but I commend Chris for his growth. (26.25/30)

3. "Deliverance" (11:20) Jazz-Rock Fusion that seems to be straddling the fence of whether or not it wants to be rock-pop like SANTANA or jazz-rock-classical fusion like Eumir Deodato, Herbie Hancock, or Freddie Hubbard. It gets good in the fifth minute as Chris really gets involved with his spirited flute play. He is really good! And the band rises to the occasion around him--as if inspired by his contagious and almost-reckless enthusiasm. Again I am more reminded of Mwandishi-era Herbie Hancock and friends during this motif. By the end of the eighth minute Gerry, John, and Rob really have the band cruisin' along with the force rivaling anything Chick Corea's RTF ever did--even in their peak Romantic Warrior days. (No wonder Gerry was chosen to take Lenny White's place for the end of the Return To Forever wagon train.) A song that gets better and better the further into the song you go. (18/20)

4. "The Ballad" (3:49) steady piano chord play with bass, drums, electric fuzz guitar, frantic flute and sitar pull off a remarkable little jam. (9/10)

5. "Bamboo Funk" (5:26) a song that starts very delicately--almost like a psychedelic folk song--but then it starts to turn into the real groovin' tune it becomes at the end of the first minute. John Lee's infectious bass play seems to amp everybody up as electric guitar, drums, and electric piano start really giving more in the second and third minutes. At 2:20 Chris enters with his flute--which becomes more and more impassioned as the song progresses--as everyone participating over John Lee and Gerry Brown's passionate play in the rhythm section begins to get infected. Actually, virtually everyone becomes part of the impassioned rhythm section of this great song--including Chris, Henny Vonk, and Sigi Schwab's manic-strumming 12-string acoustic guitar. How fun! What a great send off for both the band members and the album listeners! (9.5/10)

Total Time 43:33

I love the spirit of Chris Hinze's new direction--which results in some truly top notch First Wave Jazz-Rock Fusion.

89.80 on the Fishscales = B+/4.5 stars; a near-masterpiece of surprising Jazz-Rock Fusion. I'm inclined to want to bump this up to five stars due to the amazing leap forward Chris has taken and for the high, high quality of compositional daring and performative enthusiasm he created here. Mega kudos, M. Hinze! 

JOHN LEE & GERRY BROWN Infinite Jones (1974)

Release by Keytone Records in 1974, the Chris Hinze-produced album was recorded at Dureco Studio in Weesp, Netherlands, on June 23 & 24 in 1973 and then later re-released as Bamboo Madness in 1994.

Lineup / Musicians:

- John Lee / Electric Bass

- Gerry Brown / Drums

- Gary Bartz / Alto Sax, Soprano Sax, Slide Whistle, Percussion

- Chris Hinze / Flute, Alto Flue, Bass Flute, Piccolo Flute, Bamboo Flute, Producer

- Howard King / Percussion

- Henny Vonk / Vocals, Percussion

With:

- Jasper Van't Hof / Electric Piano, Organ (1,2)

- Rob Van Den Broeck / Piano, Electric Piano (1,2,3,4,6,7)

- Hubert Eaves / Percussion, Piano, Electric Piano (1,2.4.5,7)

- Wim Stolwijk / Piano, Voice (6)  

A1. "Infinite Jones" (6:42) opening with some careful, pensive notes and play from Gerry Brown's cymbals (and, soon, snare) and John Lee's bass--sounding as if they're starting up the engine of a lawn mower or chain saw with the pull string--but soon the rest of the band begin to enter, all at first slowly, as if just joining the party, but then congealing into a wonderfully flowing jazz-rock fusion--one in which John Lee's front and center bass is very active along 100% of his fretboard while multiple electric pianos and piano's create a rich filler in the background and bluesy lead instrument over the top. Soprano saxophonist Gary Bartz gets plenty of lead and support time as well as does percussionist Henny Wonk's wordless vocalese at the end (previewing a tactic Pat Metheny will employ quite liberally over the course of his career). Great performances from all but especially impressive is John Lee. (8.875/10) 

A2. "Deliverance" (13:43) opening with a 25-second fireworks display from drummer Gerry Brown before he stops to allow John Lee, Gary Bartz, and the three keyboards players to step in and start building ther weave. Amazing speed coming from Gary Bartz' fingering of his soprano saxophone. Quite the RTF/GINO VANNELLI Jerome Richardson-like sound and melodies expressed over some very virtuosic performances from all of the contributors, especially Gerry, John, Gary, flutist Chris Hinze, and the three keyboard players. A top-notch J-R Fuze epic from some top notch musicians. High powered and eminently impressive! (28/30)

B1. "Jua" (7:04) another slow, scattered start in which the players seem to gather themselves in the effort to gradually create a jazz jam in the vein of MILES DAVIS' seminal In a Silent Way and Bitches Brew albums, this each individual instrumentalist seemingly soloing non-stop while holding together a complex weave over which individuals can step forward to solo. Saxophonist Gary Bartz is particularly powerful in this latter capacity while the pianist(s) provide a strong presence in support just beneath the soloist(s). Again, Henny Wonk provides matching vocalese to take the song's melody out at the end. Great pacing, weave intricacies, and melodies. (13.75/15)  

B2. "Absolute Posolutely" (2:57) drums with slide whistle for the song's entirety. Unusual song. Nice crisp drum playing. (4.375/5)

B3. "Rise On" (3:17) piano, double bass, and drums open this one, establishing a straight-line motif over which flutes and saxes create and carry the melodies. Gerry Brown's embellishments and fills are great as is Hubert Eaves' piano support. (Hubert was apparently a very busy man on this one: aslo playing percussion and electric piano.) Rollicking fun and perfectly measured. (9/10)     

B4. "Who Can See the Shadow of the Moon" (5:17) long, slow MAGMA-esque intro and build into a plodding pretentious piece of "Black Orpheus"-like mood music. Chris Hinze's flute playing is finally given its due with the support of Rob Van Den Broeck on piano and electric piano as well as Wim Stolwijk's piano and heavenly vocalese. Interesting and pretty but nothing to get too excited about despite John Lee's nice double bass play. (8.75/10)

B5. "Bamboo Madness" (2:30) Chris Hinze blowing hard on his bamboo flute while John Lee accompanies with some very funky bass play and Howard King and, eventually, Gerry Brown provide some awesome percussion and drum support, respectively. I love how John doubles up Chris' melody line in the final minute. (4.5/5) 

Total time: 41:28

90.88 on the Fishscales = A-/five stars; a minor masterpiece of Second Wave Jazz-Rock Fusion from an ensemble of virtuosi. Highly recommended for all J-R F fans and fans of great, creative ensemble work.

CHARLIE MARIANO Cascade (1974)

Part of Chris Hinze's circle of musician friends, a Keytone production is Charlie's reward. Recorded on March 9 & 19, 1974.

Line-up / Musicians:

- Charlie Mariano / saxophones [alto, soprano], flutes [wooden Indian flutes], reeds [Nagafvaram]
- Chris Hinze / flute
- Philip Catherine / Spanish guitar, electric guitar
- Michaël Samson / electric guitar
- Jasper Van 't Hof Electric / electric piano [Fender Piano], organ
- Rob Van Den Broeck / piano, Fender Rhodes
- John Lee / bass [acoustic, electric]

- Gerry Brown / drums, percussion

A1. "Suite Of The Festival" (5:01) wonderful solo Spanish guitar play to open this one before alto saxophone joins in. Quite lovely duet. But then around 2:20 the full band jumps into a Caribbean-sounding Latin groove. Charlie has switched to soprano sax and is now dueting with Chris Hinze's flute and Michaël Samson's electric jazz guitar. Nice composition, Chris! (9/10)

A2. "Harriet" (6:28) this John Lee composition opens with a late-night piano, upright bass and brushed drums foundation. Chris Hinze 's flute and a variety of other wind instruments used by Charlie Mariano join in. I hear little or no guitar in this one but I do hear two piano keyboards. Nice gentle tune with delicate emotions expressed from Charlie's variety of instruments. (9/10)

A3. "Quest" (4:08) another John Lee composition (as is typical, quite a mathematical though layered structure) performed by the electric ensemble (including organ and two electric guitars) over which Charlie's alto sax starts us out. Jasper van't Hof and Philip Catherine get the next solos as the playing of the rhythm section of John and Gerry intensifies. Pretty cool. (9/10) 

A4. "Electric Funk Jungle" (5:46) Indian flute, hand percussion, and odd synth-guitar sound (or is it some kind of weird little metallic flute?) playing loosely, freely, as if recreating the randomness of Nature (thus the song title), is soon joined by John Lee's electric bass and then Gerry Brown's drumming. A nasally reed instrument arrives (or is it an alto saxophone?) as the groove beneath smooths out into something quite funky. Very interesting fusion of world music over a jazz-funk rhythm track. Almost like something WAR was doing around the same time (or a bit earlier). I really like the foreign scales done with the odd combination of wind instruments and percussion fun during the second half. At the end, the music simple dies down, one instrument at a time. (9.125/10)

B1. "Cascade" (5:31) a different kind of jungle music, this one bordering on with some really fast two-note, two-chord bass play over quite frenzied drums and wild soprano sax play. The next soloist comes from an electric guitar that is sporting a really odd sound--as if they're MIDIed with a Calypso steel drum and a kazoo, at the same time. Weird but cool--and very solid. (9.125/10)

B2. "Piece For Banjo And Kazoo" (9:00) opens with quite a lovely sound: both from the lead alto sax and the DEODATO-like electric ensemble in support. Once fully established as basically a two-note vamp, the sax leads (is it now a soprano?) while some really cool rhythm guitar plays along in the left channel. The "chorus" sections are more complexly jazzified but then about three minutes in the music shifts into a delicately-played two-guitar arpeggiated eight-chord progression beneath which John and Gerry really ramp things up into Billy Cobham/Bill Bruford territory while electric guitar solos in a jazz fashion (which means it's probably not Philip Catherine--probably the "other guy," Michaël Samson). Fender Rhodes takes the next solo while the rhythm section remains equally interesting in their actively dynamic support/interaction--and the rhythm guitarist continues to entertain and fascinate. Such a solid, peak J-R Fuse song! The only thing this song might benefit more from is slightly better melodies. Once the Rhodes is finished, a soprano sax takes back the lead and carries us to the song's end. Wow! How fun! How invigorating! This is every bit as good as anything Return To Forever ever did before they set the new bar with Romantic Warrior! (19.25/20)

B3. "Locus" (4:22) John Lee's third and final composition for Charlie opens with a typically-mathematical foundation but everybody in the band is playing with reckless abandon around the steady bass line--including Gerry on the drums! I love the LENNY WHITE Venusian Summer-like space synth floating around in the distant background throughout. And I also love Gerry's drumming, the rhythm work of the guitarists and Fender Rhodes player. Wow! (9.125/10)

Total time: 40:16

How does this album get overlooked as one of the best things Jazz-Rock Fusion ever offered?! 

92.03 on the Fishscales = A/five stars; a masterpiece of peak era Jazz-Rock Fusion. What an ensemble! What a delightful vision for the jazz fusion of anything!

JASPER VAN'T HOF Eyeball (1974)

Recorded in The Netherlands on March 16 & 17, 1974 (in between the two recording dates of Charlie Mariano's Cascade!!) Six of the songs here are attributed to band leader van't Hof, three to bassist John Lee.

Line-up / Musicians:

- Jasper Van't Hof / acoustic piano, keyboards
- Zbigniew Seifert / violin
- Wim Overgaauw / electric guitar, banjo
- John Lee / electric bass
- Gerry Brown / drums, percussion

A1. "Bax" (7:50) a truly obnoxious syncopated two-note bass anchoring this otherwise interesting song into hell spoils, for me, the wonderful performances of Gerry Brown (amazing!), Jasper van't Hof, and violinist Zbigniew Seifert. I think Jasper thought he was Herbie Hancock or something. I feel sorry for John Lee (to be held hostage like that). (13.25/15)

A2. "Viber Snake" (5:12) opening with some loose and very sparse piano and bass support to some absolutely wonderful "flamenco jazz" guitar work from Wim Overgaauw. At the very end of the third minute Wim stops and the plaintive notes of Zbigneiw's violin are doubled and backed by Jasper's piano chords and Wim's guitar chords and other frivolous flourishes. Interesting composition. (8.875/10)

 
A3. "Eye-ball 1 (Piano Solo)" (3:37) a jazzified classical piece in the Keith Emerson tradition? Sounds an awful lot like something Keith would do. It sounds a lot like a jazzy rendition of an Aaron Copeland song. (8.75/10)

A4. "Hyrax" (5:55) the first of John Lee's contributions is, unfortunately, another song in which John finds himself trapped into a endless syncopated two-note cycle while everyone around him gets to play, explore, and, hopefully, have fun. There is a bit of a dour, "hard-work" feel to the performances. Some weird, wah-wah-ed synth work from Jasper is the highlight of this otherwise one-dimensional song (at least, one dimensional during the solo-support passages). Luckily, Gerry is allowed enough freedom to display his prodigious talent. Turns out that Zbigniew's violin is also being fed through a distorting wah-effects pedal, as his solo is quite reflective of Jasper's. Wim's syncopated rhythm guitar chord hits provide a distracting accent (almost negatively so), but the main melody is pretty good--and performed in an interesting way. Fade out. (8.875/10)

B1. "Schwester Johanna" (6:15) this fast-paced display of instrumental virtuosity sounds like Jean-Luc Ponty playing with the Pat Metheny Group, but it's not. It's Zbigniew Seifert and Jasper van't Hof. But, man! John Lee, Gerry Brown, and Wim Overgaauw's rhythm guitar are sure smokin' up the joint!  This six-minute sprint would be a test of anyone's stamina and concentration! (9.5/10)

B2. "Laur" (4:17) moody volume-controlled bass chords open this with spacey synth single notes notes and whistles and exotic percussion sounds. Then Zbigniew and Jasper enter with violin and Vangelis-like Fender Rhodes. This beautiful little dreamy jazz tune is a John Lee composition! But it's so very mature, multi-dimensional, and polished! Take me to this person (or place), please! (9/10)

B3. "One Leg Missing" (3:06) opens with what sounds like some East Asian percussion and instruments (banjo, violin, and spaced-out plucked eighth notes on the bass) providing what sounds like the cacophony of a small third world village celebration (for a big meal). Gerry's play soon turns to his drum kit, where he puts on quite a display of drum mastery. (8.875/10)

B4. "Eye-ball 2 (Piano Solo)" (4:57) solo Jasper. It's very smooth and melodic, flowing beautifully on top as the left hand chord hits provide some referent points. Nice work from a confident and thoughtful player. I'm not usually much of a fan of solo piano work, but this is the kind of stuff I can enjoy. (8.875/10)

B5. "The Rev" (4:20) the final John Lee composition is another surprisingly loose and more-than-two-dimensionally-constructed tune. Zbigniew and Jasper (on synth) open things up by introducing the kind of loosey-goosey, happy-go-lucky melody before backing off for Wim to take a turn in the lead with an odd-sounding guitar (like it's an elephant being muted inside a milk bottle) mixed very quietly into the near background. Zbigniew gets the next solo before Jasper's electric piano takes a turn. Then the song is faded out. A solid song that presents nothing really great or innovative. (8.75/10)

Total time: 46:32

Jasper knows his way around a keyboard but is still fairly new to how to use the new technologies and their sounds (especially single note synthesizers) thus there is a lot of experimentation with the manipulation of sound going on here. What one can certainly say with some confidence is that he and his collaborators can play! In fact, this album contains what is, in my opinion, one of the best displays of the talents of Gerry Brown that I've ever heard.

89.21 on the Fishscales = B+/four stars; an excellent display of Second Wave Jazz-Rock Fusion. 

TOOTS THIELEMANS - PHILIP CATHERINE Toots Thielemans & Friends (1974)

Recorded for Keytone Records in Amsterdam in May of 1974.

Line-up / Musicians:

- Toots Thielemans / harmonicas, electric guitar

- Philip Catherine / guitars 

- Chris Hinze / flutes

- John Lee / bass

- Gerry Brown / drums, percussion

- Joachim Kühn / piano, electric piano

A1. "Bé Bé Créole" (4:51) the first half of this sounds, to me, like a lesson in Harmonica 101 as presented on a show like Sesame Street; the second half like the more advanced class one mike take in one's junior or senior year. Thus, this makes, for me, all of the other instruments providing the base music relegated to the realms of cogs of dispensability: their efforts seem wasted. (8.66667/10)

A2. "Monologue" (4:08) a little more interesting from the lead instrument perspective, but sounding, in the end, like Chris Hinze's pre-Combination days of self-aggrandizing easy listening music to show one's skill at adapting other people's melodies, ideas, and styles to make "your own" compositions. (8.75/10)

A3. "T.T." (6:11) now here is a jazz tapestry in which M. Thielemans tries to find his way (instead of leading the others from his own melody-play): and it's one of his own compositions! The skills of pianist Joachim Kühn and drummer Gerry Brown get far more exposure on this and Toots actually backs off to let others have some of the spotlight. (8.875/10)

A4. "Two Generations" (4:11) now we're talkin'! Thanks for stepping in (or up) Chris! Piano and flute start it off before harmonica joins them, but the real boost comes 90 seconds in when Joachim leads the rhythm section into an explosion into a powerful SANTANA-like vamp over which Chris, Toots, and Philip Catherine take turns offering some kick ass solos over some seriously rowdy-rockin' all-out Jazz-Rock Fusion. A GREAT song. Easily my favorite song on the album. Like a Santana jam, I wish it would have gone on forever! (9.75/10)

B1. "Why Did I Choose You" (3:50) a Latin pop song (bossa nova by Michael Leonard) turned Smooth Jazz instrumental. Nice music by tightly-bonded group of very proficient musicians. Nice harmonica performance; very cool guitar support (Toots?) (8.875/10)

B2. "Uncle Charlie" (6:30) opens as a Louisiana swamp blues harmonica song that becomes funked up with the full band in support. Philip's raunchy distorted guitar actually fits fairly well over the steady funk-lite Billy Cobham-style jazz-funk. And it's not all dominated by a saccharine harmonica. Nice song, Toots! (9/10) 

B3. "Friday Night" (3:46) Philip Catherine's lone compositional contribution to Toots' album involves some awesomely beautiful Spanish guitar (where was Philip when John McLaughlin and the guys were imagining some acoustic trio candidates?) While the song never really launches: it stays in the intro-interlude "limbo-land" the whole time, exploring wave after wave of guitar runs with near-"Theme from Midnight Cowboy" melodic hooks the entire time. It is, however, gorgeous. (9/10)

B4. "L'éternel Mari" (5:28) Joachim Kühn has created a great song here--one that stands up perfectly well with any lead instrument (reminding me a lot of something that could've come from either of Herbie Hancock's first two Head Hunters albums)--or none at all. The contributions of the harmonica up front are minimal enough to not take much away from Joachim, Philip, and John's performances: it's fine but man this awesome song could've served some really great artistry--from artists who were really deeply inspired and motivated to exploring the experimental sounds and technologies coming available in the mid-70s. (9/10)

Total time: 38:55

I really respect Toots Thielemans as a master of his instrument, as a fearless, ground-breaking musician, but for heaven's sake: it's a harmonica! I've already expressed my relative disdain for one-dimensional, melody-only musical instruments (the saxophone is my most disliked) and, as creative as one can be on the highly limiting harmonica, it's really about who one surrounds oneself with. Yes, the harmonica can deliver melodies with achingly-beautiful, heart-piercing emotion, but  not every time: there are only so many "Theme[s] from A Midnight Cowboy," "Isn't She Lovely"s, and "Brand New Day"s that come across an artist's studio charts over the course of a lifetime. 

     Also, for getting second-to-the-top billing, Philip Catherine's contributions are certainly lower profile than what one might have expected. It is a bit fun (and insightful) to hear a little unscripted spoken commentary recorded (and published) in between the songs.

89.90 on the Fishscales = B+/ stars; what feels like a waste of time, effort, money, and talent turns out to present enough high-quality music to qualify as an excellent "near-masterpiece" of Jazz-Rock Fusion. The problem is that it astounds me to envision what this album could have been!

JOACHIM KÜHN Cinemascope (1974)

East German-born classically-trained pianist Joachim Kühn recorded Cinemascope in May of 1974 at Conny Plank's studio in Köln, Germany. This was quite an unusual event since Konrad was rarely interested in the jazz or even jazz-rock "Fusion" trends in music; he was much more interested in supporting/promoting the boundary-pushing, experimental scenes of music that have become known as "Krautrock." Be as it may, Cinemascope was engineered by Conny and produced by Joachim's ever-present brother, Rolf, and then released by MPS Records (Villingen) late in 1974.

Line-up / Musicians:

- Joachim Kühn / piano, electric piano, alto sax

- Toto Blanke / guitar

- John Lee / bass

- Gerry Brown / drums, percussion

With:

- Zbigniew Seifert / violin (3)

- Rolf Kühn / arranger, producer, co-composer (B1 & 2)

A1. "Zoom (Part 1)" (5:26) (8.75/10)
A2. "Zoom (Part 2)" (3:44) (8.75/10)
A3. "One String More" (8:18) (17.625/20)
A4. "Vibrator" (2:16) synth play (4.25/5)

B1. "Travelling (Part 1)" (5:10) cool synth and piano exploration--like the spacey intro to Lenny White's "Venusian Summer Suite" (9.125/10)
B2. "Travelling (Part 2)" (6:27) RTF racing: Gerry Brown is channelling Lenny, John Lee Stanley, Joachim Chick, and Toto Al Di. And there's orchestration--real strings orchestra (courtesy of brother Rolf.. (10/10) 

B3. "Success" (5:06) alto sax over frenzied free for all. the strings-effected second half with Toto's guitar work is the best part. (I'd love to throw away the first two minutes.) (8.875/10)

B4. "Black Tears" (5:16) opens with beautiful orchestra strings arrangement setting up a tense but mysterious, expectant, exciting mood for the next part. At 0:42 Joachim's pensive piano takes over but then he soon begins to tinker around rather melody-lessly, but then, as if he heard me thinking, he brings us back to romantic dreamland at 1:41--with the accompaniment of strings, double bass, and brushed drums. Gorgeous in a Jimmy Webb kind of way. The man is obviously a genius: to be able to switch mindsets with such ease and facility. I'm blown away. (10/10)  

Total time: 41:43

I LOVE Side Two, could do without Side One.

91.03 on the Fishscales = A-/five stars; a minor masterpiece of Second Wave Jazz-Rock Fusion.

CHRIS HINZE COMBINATION "Sister Slick" (1974)

Recorded on a 16-track recorder in Weesp, Holland, on May 25th, 26th, 29th, 30th 1974 with Emile elsen engineering for producer, arranger, and principal composer Chris Hinze.

Line-up / Musicians:
- Chris Hinze / producer, writing, arrangements, flute, alto flute
- Rob Van Den Broeck / piano, grand piano, electric piano, soloist
- Jasper Van 't Hof / piano, electric piano, soloist, organ
- Henny Vonk / vocals
- Jan Huydts / piano, grand piano, synthesizer, soloist
- Philip Catherine / acoustic guitar, electric guitar
- Gerry Brown / percussion, drums
- John Lee / bass, writing
- Robert Jan Stips (Supersister, Golden Earring) / organ

1. "Skyrider" (8:28) a song that opens with Jan Huydts' piano playing (with synthesizer strings supporting) a variation of the second movement (Adagio sostenuto) of Sergei Rachmaninoff's 1900–1901 Piano Concerto No. 2 in C minor, Opus 18, a song that classically the trained composer (and son of a world class orchestra conductor) would have been intimately familiar with. (The Raspberries' Eric Carmen's would make an international hit song, called "All By Myself," based upon the same theme. Perhaps Eric heard Chris's version, though it is far more likely that he picked it up from his music studies with his Aunt Muriel who was a concert violinist with the Cleveland Orchestra when it was under the direction of George Szell--who had built "the world's greatest symphonic instrument" ªº.) Anyway, at the end of the first minute, the song jumps into a long (90 seconds) proggy segue into an "electric" orchestra symphonic bridge (which sounds tremendously like something fellow Dutch band FOCUS had done or would do), which ultimately empties out onto an RETURN TO FOREVER-like funk-jazz showpiece for instrumental virtuosity. Philip Catherine gets one of the first solos while John Lee and Gerry Brown provide a very Stanley Clarke-Lenny White-like foundation speeding along beneath. All the while, composer Chris Hinze's flute is buried a little into the mix, giving it the feeling/effect of being a supportive thread in the large tapestry being created. In the sixth minute Chris's flute is moved to the front while Philip's stll-raging electric guitar soloing is moved back into the far background (but you can still hear him!) A Chick-Corea-like electric piano is right there on the right side, supporting, embellishing, and encouraging the others. Man! That segue in the eighth minute is intense--and so well played!

     From the start to finish of this song I began to wonder if this is an example of Chris trying to emulate the Deodato move that the Brazilian bandleader made in co-opting a piece of classical music on his recent world-wide hit album, Prelude. (Eumir had made a jazzed-rock fusioned version of Richard Strauss' "Also sprach Zarathustra"--which had been re-made famous and popular by its use in the fairly recent sci-fi film, 2001: A Space Odyssey. The song had achieved massive success around the world in 1973.) Was Chris hoping to achieve similar commercial success with his own jazz interpretation of a particularly accessible classical music theme?

     Whatever his motivations or influences, I think Chris has achieved something quite extraordinary here. The sound engineering/mix could be a little better, but I think he has found the perfect ensemble of musicians necessary to do this great song justice. (19/20)

2. "Easy Answering" (8:41) flute-led smooth jazz with a definite foot in the realms of funk-jazz (due to the processing and forward mix of John Lee's distorted funky bass). Philip Catherine's lead guitar work in the first half of this one is much more in line with the electric jazz guitar players of the late 1960s than the modern styles (and sounds) promoted by the likes of Mahavishnu John McLaughlin, Bill Connors, and the latest phenom, Al Di Meola. Henny Vonk's wonderful "smooth-scat" vocalese is used prominently throughout the song's second half. She sounds strikingly similar to Flora Purim (as opposed to Urszula Dudziak or Annie Haslam--the three most well-known female vocalists attempting this style of wordless scat-singing at the time). A very solid song with lots of entertainment value; well worth repeated listens in order to try to pick up all of the wonderful contributions of the ensemble's individuals. (18.5/20)

3. "I Like To Feed A Smile On Your Face" (5:21) more of John Lee's stanky funk bass, fast and forward, drives this song as well if not more than the song's melodies and excellent drumming. I wish the sound recording/engineering choices had been a little better: the mix is a bit unbalanced and there is a scratchiness and disappointing distortion throughout. I love Philip Catherine's "tarnished and degraded" electric guitar sound. I like the spread on this one: John Lee's bass low and center; Philip Catherine's stinky rhythm guitar in the right channel, the dirty Fender Rhodes in the left channel, the drummer covering the entire field from down below, and Chris's flute in the very middle (but not mixed forward at all). Everybody is made equal in importance in this kind of mix. Cool! At the same time, one can definitely get a sense for the limitations a 16-track recorder places on the engineer and producer: there is only so much sound one can jam into each and every song. Hence, the single track, start-to-finish allocations of the individual musicians' performances (with volume and panning dials the main method of singling out the soloists.) (9/10)

4. "Unity" (9:44) a delicate, richly-melodic electric piano motif (that Steely Dan would base their iconic 1976 song, "Aja" on) opens this one. At the end of the first minute the piano backs down and Chris's low, breathy flute takes the lead, soon supported/dueted with Henny Vonk's Burt Bacharach-like vocalese. The song takes an unexpected and almost-awkward shift--twice!--in the second minute (at 1:15 and again, more permanently, at 2:05). Then we're off to the races as John and Gerry power an awesome cruise over which the Fender Rhodes takes the lead for a bit before a brief bridge early in the fourth minute leads to a complete stop. The music is again picked up, at first by solo flute, and then by the full band, shifting into a Latin-based section that actually uses two different motifs (with three different bass patterns!) over which Chris and Philip provide the lead entertainment. I love Philip's reactive rhythm guitar play here! But I really love the brave stylistic switches throughout  this awesome song. The Latin'Caribbean motifs in particular give it so much life! Again, I can't help but wonder if Donald Fagen and Walter Becker had any exposure to this song or album before setting into the creation of their Aja album. A real gem of a song, this is! (19/20)

5. "The Second Coming" (6:28) John Lee's single contribution to the album's compositions, it opens with a brief introductory period before shifting into third gear with a more-loose- and broad-spectrum-than-usual jazz-rock fusion motif over which flute, wordless voice, and  electric guitar share the initial exposition of the main melody. Then everybody settles back to support Chris's flute with John doing that chunky free-floating "dirty" bass thing he's been doing pretty much the entire album. Electric piano and far off Arp Synth strings provide an awesome floating feeling (quite similar to the way Lenny White incorporates this effect on his Venusian Summer album) as Philip Catherine takes the lead (twice! in two different channels!) The fullness and smooth groovity of the entire song is so enticing, so lilting, so enjoyable that I feel that I could float along this river/stream forever! Definitely one of the best John Lee compositions (and renderings) I've yet heard. Awesome! A perfect song!(?) (10/10)

6. "Sister Slick" (5:03) floating Arp Odyssee synth--sounding like something from a GONG album!--over which syncopated rhythm track is laid down. It's complex and herky-jerky but not enough to totally alienate the listener; one can still pick up and appreciate the fine performances of the musicians despite the rather loose and "undefined" roles everyone has been assigned. (Which, in this respect, gives the song a kind of bluesy "practice workout" feel: i.e. feeling as if the composition was not properly finished; they'd captured a rather one-dimensional jam on tape and decided to keep it and stick it on the end of the album. The slow fade out at the end also adds weight to this theory: strongly suggesting that this jam went on for some time after the cut was made.) (8.875/10)

Total Time 43:45

The flow and style of this entire album has, to my ears and mind, the feel of that of DEODATO's masterful 1973 album release, Prelude--which was released in January of 1973 and rose to international fame and acclaim on the backs of both the amazing hit song "Also Sprach Zarathustra (2001)." Like Prelude, Deodato had employed a pre-eminently perfect matched flutist for his album in the personage of Hubert Laws--a long-established jazz artist that Chris admired greatly. We also know from Chris's heritage, musical training, and ever-evolving, ever-eclectic musical tastes that he was very prone to like a new style or trend, learn and master it, and then use his new information and skill to create new music and, being a producer and independently wealthy music studio owner, produce an album using the finest musicians within his reach (which could be achieved easily if money was never a restriction).  

93.75 on the Fishscales = A/five stars; a full-blown, indisputable masterpiece of peak era Jazz-Rock Fusion. HIGHLY RECOMMENDED! The whole world should know this album!  

ªº from music critic Donal Henahan's New York Times obituary article on the passing of George Szell (31 July 1970). "George Szell, Conductor, Is Dead". The New York Times. p. 1. ISBN 9780405111532. 

TOTO BLANKE Spider's Dance (released in April of 1975)

The side project of German guitarist Hans Otto Blanke when not working with Jasper Van't Hof or with Pierre Courbois' ASSOCIATION P.C. This album finds the European virtuosi playing with Philadelphia expats John Lee (bass) and Gerry Brown (drums). The album was recorded and mastered at Conny's Studio in 1974 in Siegburg, Germany, on July 21-23, with the acoustic guitar parts recorded at "Studio Bero" in Münster on August 27 & 28. Vertigo Records released the album in April of 1975.

Line-up / Musicians:
- Toto Blanke / electric & acoustic guitars, composer & producer
With:
- Joachim Kühn / Fender electric piano
- Carmine Ugo "Charlie" Mariano / soprano saxophone, flute
- John Lee / bass guitar
- Gerry Brown / drums

1. "Lady's Bicycle Seat Smeller" (7:00) sounds very much like RETURN TO FOREVER (in no small part due to Gerry Brown's pre-RTF drumming). The drums, bass guitar, and electric guitar play are so closely fitted to the RTF style, it is only the presence of Carmin Ugo Mariano's flute and Joachim Kühn's more Herbie Hancock-like keyboard playing style. (13.5/15)

2. "Intermission" (6:58) another song styled very closely after some of RETURN TO FOREVER's more quirky and dynamic constructs, this time with keyboard player Joachim Kühn's stylings sounding more akin to those of Chick Corea. (13.75/15)

3. "Rocbaron" (2:45) a Django Rhinehardt-styled acoustic guitar song solo by Toto definitely takes on a non-Django sound and style (and more Al Di Meola- and acoustic John McLaughlin sound) as it goes on. Excellent virtuoso guitar play! (9.75/10)

4. "Toto" (6:22) opens with two concurrently played tracks of Toto's electric guitar(s) playing wah-wah-ed arpeggi, soon along with John Lee's bass and Gerry's syncopated drums. Very cool! (Very "Discipline" like!) At 1:08 the hypnotic weave is broken by a crash into a slower procession of chunky-funky effected-bass, syncopated almost-military drums, and electric guitar arpeggi with Fender Rhodes electric piano support. (I hear no saxes or flutes.) The guitar soloing in the fourth minute reminds me very much of Larry CORYELL while Gerry Brown's drumming is like a mirror copy of the style and sounds of Lenny WHITE! In the fifth and sixth minutes the guitars return to two tracks weaving opposite one another, eventually speeding up to signal the band's transition into decay and finish. I really love this song--from multiple perspectives--maybe the drumming the most! (9.5/10)

5. "Spider's Dance" (4:33) a protracted Mahavishnu-like progression of chords from guitar and bass while Joachim's clavinet and Gerry's drums sky rocket all over the place beneath and around the plodding oddly-time-signatured stringed rhythm section. Charlie Mariano's flutes and saxes as well as another track devoted to Toto's lead guitar carry the smooth melody line to the song's conclusion. Quite exciting and noteworthy. (9.33333/10)

6. "Prelude" (0:58) strumming acoustic guitar receives some flange treatment. (4.5/5)

7. "Slight Touch Of Hepatitis" (14:28) using a sparse and rather spacious rhythm section from the bass à la Bitches Brew and the early Mwandishi albums, drummer Gerry Brown is free to explore wherever Spirit guides him as Charlie Mariano and Joachim Kühn go wild and crazy over the top--for the first five plus minutes, that is. Toward the fifth and sixth minutes John Lee's bass begins to become quite adventurous and interesting while Toto Blanke's lead guitar and Joachim's wah-wah-ed Fender Rhodes become increasingly angular, key-bending, and at times outright dissonant. The band reigns it in and thins out in the eleventh minute to allow for some pure Fender Rhodes solo time (though John Lee's very active bass is still unavoidably noticeable just beneath). Gerry's drumming is solid and fluid but feels, compared to the creative freedoms he was given in previous songs, more constrained and liming.

      I'm sure this was a very cerebral and liberating song to perform--and the performances are certainly impressive for their virtuosic creativity--but my puny little brain happens to prefer the melodic commitments of the previous songs. (27/30)

Total Time 43:04

Quite an excellent and creative album despite the obvious emulation and inspiration from Chick (and Herbie), Stanley, Al (and Larry), and Lenny. Evenso, these musicians are all at the top of their games--given further freedom and expressive boosts by wah-wah pedals and multiple track recording.

91.93 on the Fishscales = A-/five stars; a remarkable masterpiece of high-powered Jazz-Rock Fusion--one that every prog lover and J-R Fuse lover should experience! 

JOHN LEE & GERRY BROWN Mango Sunrise (1975)

European bound (The Netherlands) American ex-pats John Lee and Gerry Brown have assembled a band consisting of perhaps the very crème de la crème of Dutch musicianship--including guitar virtuosi Philip Catherine and Eef Albers and keyboardists Jasper Van't Hof and Rob Franken and even entice a couple of other seasoned American standouts in Mike Mandel (Larry Coryell's longstanding keysman) and Eric Tagg to participate on a couple of songs. The album was pieced together through three recording sessions in June & July of 1975--Dureco in The Netherlands, Morgan Studios in Brussels, Belgium, and Electric Lady Studios in NYC--but then mixed and mastered under Skip Drinkwater's supervision back in California for a Blue Note release later in the year.  

• 
  

Lineup / Musicians:

- John Lee / Bass, Clavinet (A3)

- Gerry Brown / Drums, Percussion

- Eef Albers / Electric Guitar

- Philip Catherine / Electric Guitar, Acoustic Guitar

- Rob Franken (Scope, Focus, Zbigniew Seifert) / Fender Rhodes, Synthesizer, (Synthesizer solos on A3, A4, B2, B3, B4, B5)

With:

- Eric Tagg (Beehive, Raibrow Tag, Lee Ritenour) / Clavinet, ARP Synthesizer (B1) 

- Mike Mandel (Larry Coryell, Rough Silk, Naked City, Alphonse Mouzon) / Synthesizer (second ARP on B1)

- Japser Van't Hof (Association, Toto Blanke, Pork Pie, Placebo) / Clavinet (B4)

- Wah Wah Watson / Guitar (B4)

A1. "Mango Sunrise" (5:17) incredible performances by all of the band members--with amazing cohesion and great melodic hooks and riffs. (9.25/10)

A2. "Breakfast of Champions" (4:03) powerful and well-performed--especially by the lead guitarist(s)--but the main theme, repeated ad nauseum, is too dull and distance-causing. (8.75/10)

A3. "Keep It Real" (5:21) acoustic guitars with electric bass and gentle drum play (mostly cymbals) opens this like the potential-energy-filled opening of LED ZEPPELIN's "Heartbreaker." Rob Franken's synth solo is the leader for the first 90 seconds but then there is a stop and resent as the band switches into a slowed-down recapitulation of the chorus theme of the same song while Eef and Philip show off their incredible skills. Gerry really fills it up as the Al Di Meola-like power choruses bridge the verse sections. Man! Are these musicians incredible! The final minute sees the band turning back to the same motif as the opening: acoustic guitars with synthesizer creating the melody over the top. (9/10)

A4. "Ethereal Cereal" (3:40) a nod to Stanley Clarke? or Larry Coryell? or The Allman Brothers? or Jean-Luc Ponty? or Ernie Isley? The speed limits are all blown away on this one as every musician in the weave is in overdrive. Wow! Did I say "wow!" yet? If only it had a little more variety in melody and dynamics. (9/10)

B1. "The Stop and Go" (3:12) another very tight, very impressive whole-band display of sophisticated complexity and virtuosity that somehow lacks enough variation and melodic hook to remain memorable. Dripping in the super funk of the time--the stuff that Herbie, Larry Young, Parliament, and Lenny White were championing. (8.875/10)

B2. "Her Celestial Body" (5:10) a slowed down, stripped-down sound palette that has great, haunting melodies and awesome bass, drumming, and keyboard performances. (9.125/10)

B3. "Pickin' the Bone" (4:00) another song with Al Di-era RTF-inspired choruses bridging some fairly smooth BOB JAMES-like Fender Rhodes-led verses. (8.875/10)

B4. "Magnum Opus" (5:09) to the races straight out of the gate with John hitting Percy Jones-level note speed, matched by Gerry's precise yet-nuanced drumming and some awesome rhtym guitar work. The ensuing electric guitar solos are out of this world with their speed, dexterity, and melodic sensibilities. If you told me that John, Gerry and company were inspired by Lenny White's "Mating Drive" for this song I would not be at all surprised. Lenny, Dougie Rauch, Ray Gomez, and Doug Rodrigues would all be clapping enthusiastically in their congratulatory approbation. (9.5/10)

B5. "Haida" (2:53) kind of an excerpt from a jam that, while impressive, really goes nowhere. (8.75/10)

Total time: 38:05

Unlike any other bands or musicians outside of the "Bitches Brew" circle of progenitors, John Lee and Gerry Brown get it: They understand fully and completely that which Jazz-Rock Fusion is all about; they  unleash music that is fully in line with the fullest potential of the Jazz-Rock Fusion medium as defined by the likes of Herbie Hancock with his Headhunters, John McLaughlin with the second incarnation of his Mahavishnu Orchestra, Chick Corea, Stanley Clarke, Al Di Meola, and Lenny White with their Return To Forever and initial solo projects.

My one complaint with the albums on which Eef Albers and Philip Catherine team up is that I do not know which guitarist's style is which: they are both so fluid, so melodically-gifted, and both use similar sounds to project their guitar playing that I never feel certain which one is soloing at any given time.

90.14 on the Fishscales = A-/five stars; a minor masterpiece of breath-taking whole-group performances from a band of total virtuosi. It could've been better (more melodic, more memorable hooks and transitions) but the playing is so off the charts amazing that I cannot deny this as an absolutely essential representation of peak Third Wave Jazz-Rock Fusion.  

URSZULA DUDZIAK Urszula (1975)

Husband Michał Urbaniak recruits his usual high-profile band of musicians (the same lineup that would appear on his own first Arista album--which was to be released in the Spring of 1976 as Body English) to perform his compositions for his wife's unique wordless scat-plus vocals to soar. What an advantage: to have this kind of quality music beneath you to show off your individual skill! Urszula was recorded in New York for Arista by Michał in the summer of 1975 and then released toward the end of the year. 

 
Line-up/ Musicians: 

- Urszula Dudziak (Michal Urbaniak's Fusion) / Vocals, Percussion 

- Basil Fearrington (Mtume, Stephanie Mills, Mary J. Blige) / Bass 

- Gerald "Gerry" Brown / Drums 

- Harold Ivory Williams / Electric piano, Keyboards 

- Reggie Lucas / Guitar (solo A2) 

- Joe Caro / Guitar 

- Michal Urbaniak / Lyricon, producer 

A1. "Papaya" (4:02) I'd never heard this song before checking this album out but I can definitely concede my comprehension as to why this received such world-wide acclaim and popularity; it's delightfully upbeat--like a Mary Tyler Moore Show theme song. It's Disco with absolutely excellent musicianship--especially from the rhtyhm guitarists and Urszula's husband's Lyricon. The vocal skills Ula shows in the third and fourth minutes put her in the company of some of the 21st Century's greatest acrobatic vocalists. (9/10)

A2. "Mosquito" (4:25) straight on funk--like the stuff being used to fill soundtracks of Black Exploitation films of the era. Ula's vocal work here sounds like something between underwater gargling and orgiastic ecstasy. Nice guitar solo from Reggie Lucas but the albums other solos, which, by default, seem to be credited to 19-year old Joe Caro, are much better. (8.875/10)

A3. "Mosquito Dream" (2:34) heavily-treated, multi-effected Irene Pappas/Donna Summer-like orgasm vocals left to their own spacey psychedelic drug scene. Interesting but not really great music. (4.333/5)

A4. "Mosquito Bite" (4:23) sounds like a Discofied version of high-speed jam of  over which Urszula scats aggressively, almost violently, alternating (and duelling!) with some rather amazing heavily-treated electric guitar work which, until further notified, I'll attribute (as indicated in the credits on the liner notes) to 19-year old Joe Caro. Several instruments seem treated by flange and chorus pitch-shfiters--including Urszula's voice, the drums, and the lead guitar. (9/10)

 

A5. "Just The Way You Are" (3:22) a slow, three-plateau jazz-funk torch song (with English words) that sounds very much inspired by both Maria Mudaur and Minnie Ripperton's work of the same period. Sexy yet bird-like. What a talent! What I love most about the song is the tandem work of bassist Basil Ferrington and the guitarists. Really cool! (9/10) 

B1. "Sno King" (4:34) opening with some really funky solo drumming that is quickly joined by the rest of the rhythm section to gradually establish the pedestrian music over which Ula and her guitarists will present the song's melody. It's nice, kind of a step up from the concurrent music being produced by the like of BOB JAMES and the Laws family. Great musicianship. Not my favorite song. (8.75/10)

B2. "Butterfly" (4:34) smooth and melodic--almost dreamy--very much in a LONNIE LISTON SMITH meets The NORTHETTES sound and form. Great instrumental performances on some heavily-drugged up instrumental sounds. Michał 's lyricon is a cool touch. The further the song goes on the more I'm reminded of NARADA MICHAEL WALDEN's albums from 1976 into the Eighties, though there is a little JEAN-LUC PONTY in the sound palette as well. (9/10)

 

B3. "Zavinul" (5:06) a very cool and unusual (innovative) sound palette with many unusually processed instruments forming a gorgeously dreamy music over which Urszula vocaleses in an unusually-pitchy/scratchy vocal. Is this meant to be something negative directed toward Joe? I wish I knew Urszula's intentions with this. (9/10)

B4. "Funk Rings" (2:24) Urszula performing a single-track solo vocal in which her percussion-imitating voice is sent through a Moog processor. Real cymbals, drums, and fretless bass join in in the second half. I really like this! (4.5/5)

B5. "Call Me Monday" (5:12) another jem of an Elysiac jazz-funk piece with Urszula fast-scatting with 19-year old Joe Caro on guitar and some more stellar drum and bass play (often bordering on the Disco fringes) from Gerry and Basil with Harold Ivory Williams' excellent keyboard play. I've heard Ula's vocals compared to ecstatic female expression of the "hedonistic era" that was the mid-1970s, drug or nature induced, perhaps even orgasm. As always, I think her expertise on her percussion instruments really contributes to her astonishingly controlled and skillful scatting runs and vocal sound variations. (9.25/10)  

Total time: 40:36

Haters of this album probably don't like Minnie Ripperton, Annette Peacock, The Northettes, Gilli Smyth, or many of the 1960s Brazilian hits of Sergio Mendez, Herb Alpert, and Burt Bacharach as well some of the vocal experimentations of Flora Purim and Gayle Moran. All of this would be understandable. I just happen to like all of the above.

89.68 on the Fishscales = B+/4.5 stars; a near-masterpiece of Third Wave Jazz-Rock Fusion. Another of Michał Urbaniak's masterful productions. I love his music--the sound palettes his musicians and engineers create. 

MICHAL URBANIAK Fusion III (Recorded late in 1974; released Feb. 1, 1975.)

A name whose presence in the musicians' credits of so many pop and jazz albums of the 1970s seems rather ubiquitous yet he also remains quite mysterious for the fact that one never hears his name mentioned along side the other violin virtuosi of the era (e.g. Jean-Luc Ponty, Jerry Goodman, Darryl Way, PFM's Mauro Pagani, Arti e Mestieri's Giovanni Vigliar, David Cross, Ray Shulman, Dave Swarbrick, Robbie Steinhardt, and, of course, Eddie Jobson). Also, one must remember he is also a Montreux Jazz Festival award-winning saxophone player! Listening to this I cannot help but wonder why. This is Michał's first album made without his core of native Polish musicians, incorporating a full complement of American jazz-rock musicians--a veritable Who's Who of the Jazz-Rock Fusion movement. It was recorded at Electric Lady studios in New York City for CBS late in 1974 and then released to the public on Columbia Records on February 1, 1975.

Line-up / Musicians:
- Michał Urbaniak / Electric violin, violin synthesizer
- Urszula Dudziak / Voice, percussion, electronic percussion
- Wlodek Gulgowski (Pop Workshop) / Electric piano, Moog, and electric organ
- Anthony Jackson / Bass guitar
- Steve Gadd / Drums
- John Abercrombie / Guitars

With:

- Joe Caro / Guitar (A3)

- Gerald Brown / Drums (A3, B1)
- Larry Coryell / Guitar (B1)

- Bernard Kafka / Voice (B3)

A1. "Chinatown [part 1]" (5:24) opening with a keyboard riff that conjures up memories of many Jean-Luc Ponty songs, it quickly turns Mahavishnu as the blazing guitar of John Abercrombie takes us out of the intro and into the somewhat sparse-yet-funky motif the rest of the band establishes over the next minute. Man! is John flying! And man! is this band in synch! The syncopation coming from Steve Gadd's concise drumming is met and accented by everyone else with concise perfection. Urszula and Michał's doubled up lead melody takes us through a section of even more Mahavishnu-like complexities, which only continues and intensifies as Michał's wailing electric violin blazes on and the rhythm team below handles some incredibly difficult Cobham-like funk from beneath--and this never lets up for the entirety of the song! Astonishing! Amazing realization of the great violinist's compositional skills. (9.75/10)

A2. "Kujaviak Goes Funky" (6:12) A song that was originally composed by keyboardist Wlodek Gulgowski's band-mate and songwriting partner from his previous project, POP WORKSHOP, saxophonist Zbigniew Namyslowski (and which appeared as the last song on that band's final release, Song of the Pterodactyl released in 1974). Here Michał and Ula lead us through a slowed down RTF/J-LP-like opening of step-by-step unfolding and unstable music that has us on the edge of our seats, expecting tangents or changes in direction in each and every minute while Michał's violin and then Wlodek Gulgowski's Moog and, later, John Abercrombie's guitar, solo at the god-like levels of the greats of their ilk, like Jean-Luc Ponty, Jan Hammer and Chick Corea, and John McLaughlin and Al Di Meola, respectively. The whole band playing at an incredible level of technical wizardry that I thought only occupied by the likes of Mahavishnu Orchestra and Return To Forever. but no! Michał Urbaniak's Fusion is every bit as good--maybe even smoother and better engineered than the afore-mentioned superstars. I guess sometimes it takes a great song to inspire the performances of the current band members. (9.5/10)

A3. "Roksana" (5:42) here employing guests "Gerald" Gerry Brown for drums, Joe Caro for the guitars, and featuring scat vocalizations of percussionist Urszula Dudziak, the band cruises along with admirable skill, speed, and solo performances from Michal, percussionist Urszula Dudziak creating some rather unusual yet-highly-skilled wordless scat vocalization, and excellent electric piano work from Wlodek Gulgowski. Quite simiilar to The Mad Hatter-era Chick Corea. I just love the mood of joy and ease projected by this song. (9.25/10)

A4. "Crazy Kid" (2:35) another heavily-processed single track of percussive pre-Bobby McFerrin vocalese scatting from Ula in the same vein as previous a cappella tracks like "Kama Ula" from the band's previous album for Columbia, Atma. (8.875/10)

A5. "Prehistoric Bird" (5:19) another slightly-more-angular RETURN TO FOREVER-like funk tune that was written by keyboardist Wlodek Gulgowski for his former band, POP WORKSHOP, and its 1974 fusion release entitled, Song of the Pterodactyl. This version includes some very innovative sound from bassist Anthony Jackson's electric bass--especially the full chord play (the kind of which RTF bassist Stanley Clarke would make great use of on next year's Romantic Warrior album). The lead instrumentalists all seem to be travelling at those breakneck speeds first championed by the first incarnation of the Mahavishnu Orchestra, including Ula's scatting voice, Michał's violin, John Abercrombie's extraordinary electric guitar, Wlodek Gulgowski's Moog, and, of course, Anthony Jackson's amazing bass. With its title and angular rhythmic and melody lines I find myself falling into almost constant comparisons to Japanese band BONDAGE FRUIT's first two amazing albums. Almost too amazing to process! (Are we sure that this isn't a song on which the great Larry Coryell is also collaborating? I swear in that last minute that the screaming lead guitar belongs to none other than The Godfather of Fusion! If it's not then even greater kudos need to be offered to the sadly under-acknowledged other-worldly skills of Mr. Abercrombie.) Also, the opportunity should never go unpassed with which to acknowledge the incredible gift and skill that Urszula Dudziak possesses: to be able to keep up with those machine-gun-fast melody lines, matching the other soloists note for note with such flawless timing is nothing short of miraculous--especially in this pre-digitized era where every thing had to be synched up live! (9.333333/10)

B1. "Bloody Kishka" (4:21) the other song on the album on which Gerry Brown sits at the drum kit in place of Steve Gadd also features peak fusion-era Larry Coryell on guitar. As much as I've always loved the drumming of Steve Gadd (he is definitely the most impressive drummer I've ever seen in a live concert setting), I have been feeling an increasing appreciation and love for the smooth, super-filled funk playing of Gerry Brown. I've come to cherish his play as the only drummer on a par with Lenny White and Billy Cobham. (Jack DeJohnette may be in a category all to himself.) BTW: this is a charming song with cute, catchy, excellent melodies and flawless whole-band funk support. I'm so tuned in to the amazing work of Gerry and bassist Anthony Jackson that I almost forget to pay attention to Michał and Wlodek Gulgowski's main melodies much less Larry's excellent "underwater" guitar solo. Great performances from Wlodek Gulgowski and Urszula Dudziak as well (first and foremost for her percussion work but also for more of those wonderful main-melody-duplicating wordless vocals). Definitely a top three song. (9.25/10)

B2. "Cameo" (4:41) gorgeous melodies over a J-L Ponty-like slow-funk support--I mean, it sounds almost exactly like something off of Aurora or Imaginary Voyage.which is weird since both of these albums were released after this album. Maybe it was Michał's work that pushed Jean-Luc into his string of albums on which he really began exploring his increasingly-highly-processed electric violin sounds!? Whatever. Michał is definitely in the same category of haunting melody-making as Ponty and Vigliar. (9/10)

B3. "Stretch" (6:20) more great funky jazz-rock of the Third Wave style and sound production stupendously cohesive performances from Steve Gadd, Anthony Jackson, and his Polish compatriots (Wlodek and Urszula). Such a solid, mature song. (9.33333/10)

B4. "Metroliner" (4:44) another GREAT Jean-Luc-like jazz-funk song with great melodies throughout as well as stupendous work from the rhythm section that also features a breath-takingly amazing guitar solo from John Abercrombie. (9.5/10)

B5. "Chinatown [Part II]" (3:56) a loosy-goosy chance for each of theband members to let loose (great way to end an album cutting session!) Not the most pleasant listen but an awesome display of skill and fun. (8.875/10)

Total time: 49:14

Overall I don't hear a lot of distinctive sound or melody play from Michał on his electric violin; it all sounds very similar to the sound and amazing sense of melody-delivery that Jean-Luc Ponty and Giovanni Vigliar possess. It's a good thing I love the sound, work, and albums of Jean-Luc Ponty so much since it allows me easy access to the genius of this composer/violinist. Also, high commendations should be awarded to Michał for the genius decision of employing this particular team of support musicians: they can really deliver the funk; they're definitely one of the most skilled, cohesive ensembles I've ever heard. Now that I've heard one of Michał's solo albums, I feel quite compelled to go back and listen to the rest of his discography--which is a problem in that he has a dozen solo studio album releases from the Seventies alone! 

92.66 on the Fishscales = A/five stars; one of the most impressively consistent displays of excessively high skill and compositional and performance perfection ever put to vinyl (or tape). And I'm not just talking about a couple of the songs, I'm including the whole album, start to finish. An album that now sits in my Top 20 J-R Fusion Albums of All-Time! You'll come away blown away by not only the music here but the skills on display from every single member of this band! Visionary and ahead of his time, when you listen to any album by Michał Urbaniak you MUST take into consideration that the songs you are listening to were recorded and released BEFORE any of the references your brain wants to compare them to!

After listening intimately and with great rapture to Michał's first seven albums over and over during the past week I have to say that I think he has supplanted all of my other heroes of the Jazz-Rock Fusion movement at the top of the hierarchy: the most consistently best compositions, the most consistently interesting, innovative, and high-quality sound production, he attracted/chose the absolute highest caliber of musicians to collaborate with (many of whom are still woefully unsung), and the albums that he created have all felt absolutely incredible start to finish--and remain albums that not only keep me coming back but eliciting pure joy and excitement with every thought of doing so.

THE ELEVENTH HOUSE Level One (1975)

One of the most prolific bandleaders in the Jazz-Rock idiom is back with his second studio album expression through his Eleventh House medium. Mainstays include keyboard wizard Mike Mandel, drummer Alphonse Mouzon; the newcomers include bassist John Lee and trumpeter Mike Lawrence--both of whom give the performances of their lives--as well as guest musician (and song contributor) Steve Khan.

Line-up / Musicians:
- Larry Coryell / guitar
- Mike Lawrence / trumpet, flugelhorn
- Mike Mandel / keyboards
- John Lee / bass
- Alphonse Mouzon / percussion
With:
- Steve Khan / 12-string guitar (1)

1. "Level One" (3:21) a Mike Mandel and Steve Khan composition that opens the album with something quite powerful--not unlike the impact of a Mahavishnu Orchestra song. Great hook, great play from all the musicians. Awesome start to the album! (9.5/10)

2. "The Other Side" (4:35) what play from the rhythm section of Alphonse Mouzon and John Lee! Wow! John is really on fire with that bass! I think the playing of this rhythm section that pushes trumpeter Mike Lawrence to such heights. The use of effects like reverb and wah-wah on Mike's trumpet is very cool. Larry is great "sneaking in" among Mike and the rhythmatists until his solo in the fourth minute. Man! Is he hot! One of my favorite Larry Coryell solos ever, to be sure! There is NO flaw with this amazing song! (Thank you, Michael Lawrence!) (10/10)

3. "Diedra" (3:56) toning it down with a saccharine tune that still manages to convey some jazz and funk despite some smooth melodies and easy-going spaciousness. This song is just so well put together: everybody performing like absolute masters of their instruments, the song (composed by Mike Mandel) founded on a simple BOB JAMES-like formula but embellished subtly as only true professionals could do. (9/10)

4. "Some Greasy Stuff" (3:30) an Alphonse Mouzon compostion that sounds like a submission for a either television show theme song or a Disco cover for a Soul Train dance tune. It's good: the performances are all top notch and seem genuinely inspired; it's just that the song is a little . . . basic. (8.75/10)

5. "Nyctaphobia" (4:03) Oh! Now we're trying some Billy Cobham-level funk furioso! The horns (which I assume owes some credit to keyboard maestro Mike Mandel) are epic! And then the music and musicians just keep driving the music into faster and more furious heights until finally settling into a race across the desert. This Alphonse Mouzon composition is so much superior to the previous one. It reminds me of some of the dramatic music from the first three Chicago albums. (9.3333/10)

6. "Suite" (5:32) (9.25/10):
- a) "Entrance" - the first of Side Two's five Larry Coryell compositions is running on high octane, multiple engines. I am super impressed with the piano-centricity of the song and the massively dense wall of sound of this Latin-sounding tune.  
- b) "Repose" - the slow down is unexpected, sparsely populated (despite the oceanic fretless bass), taking a bit to set up for the trumpet melody setting with all of the subtle contributions of the other band members.  
- c) "Exit" - the finale starts out like a Mexican fiesta party before settling into a Latin-jazz-rock motif to finish. I'm not quite sure what Larry was setting out to do with this "suite" but it is definitely of the highest caliber in terms of composition and performance.

7. "Eyes of Love" (2:35) an acoustic guitar solo piece. Larry can play some Americana! (and play it complexly, as is his nature). It's not "The Clap" or "Mood for a Day" but it's good. (9/10)

8. "Struttin' with Sunshine" (3:20) Larry launches the band into a rock song only throwing in a couple nearly-undetectable twists and stumbles (to make it not be in the 4/4 time it feels like it's in?) The music played by the rhythm section is a bit boring (though they manage to spice it up subtly) but the guitar, trumpet, and keys on top manage to keep it interesting/entertaining. Larry is just so talented! He jus t lets his skills work on such a subtle level! (You have to be really listening to really fully appreciate his genius). (8.875/10)

9. "That's the Joint" (4:03) a John Lee composition, unfortunately, has the stiff, one- or two-dimensional restrictiveness of his compositional style. Still the rest of the band do their best to make it interesting. (8.75/10)

Total Time 34:55

This album starts out so fast, so hard, with such complexity, displaying such high levels of individual and whole band skill, that it's hard to get a breath in until Side Two. Even "Dierdre" has amazing things happening in it in almost every second of its four minutes. It's not until the album's last two songs that things begin to wane--as if the well is about to run dry; the candle is reaching the end of its wick. Icarus has gotten too close to the sun. This is yet another Larry Coryell album that I have to admit I came into with fairly low expectations but then get absolutely blown away: on so many levels! John Lee! Mike Lawrence! Mike Mandel! Steve Khan! Alphonse Mouzon (drumming, not necessarily composition). And the band leader's generosity in making sure that everyone feels encouraged to feel the freedom to FULLY express themselves! 

91.62 on the Fishscales = A-/five stars; a minor masterpiece of high-caliber Jazz-Rock Fusion. If the entire album were as dynamic and impressive as the five best songs this would be one of the best J-R Fuse albums ever made! 

THE ELEVENTH HOUSE Aspects (1976)

For some reason the timeline of Larry Coryell album releases (and recording dates) is jumbled due to his prodigious production output (three albums in 1975, three albums in 1976, two in 1977, four in 1978, two in 1979, and two in 1981).

Line-up / Musicians:
- Larry Coryell / acoustic & electric guitars
- Mike Mandel / keyboards, synthesizers
- Terumasa Hino / trumpet, flugelhorn
- John Lee / bass
- Gerry Brown / drums
With:
- Danny Toan / rhythm guitar
- Steve Khan / acoustic guitar
- Mike Brecker / tenor saxophone
- Dave Sanborn / alto saxophone
- Randy Brecker / trumpet
- Mtume (James Foreman) / percussion

1. "Kowloon Jag" (5:48) opening with some raw, distorted electric guitar chord play Larry is giving the listener notice with this composition of his that this album is going to be a heavy and aggressive collection of songs similar to those presented to the world with CHICAGO's first three albums back in 1969, 1970 and 1971. The song unfolds with a syncopated jazz-rock motif with Eleventh House's usual full soundscape and an almost Al Di Meola machine gun approach to note and melody delivery from Larry. The psychedelic effects used on several of the instruments are disorienting for their scratchy, heavily distorted quality. John Lee is given quite a space to deliver a bass solo in the fullness of the fifth minute before a bass chords ushers the band to spit out a very tightly played motif of chord play to bring the song to its close. (9/10)

2. "Titus" (5:29) an interesting composition coming from rhythm guitarist Danny Toan, whose only work before this was with Larry Young's Fuel. That's a lot of confidence Larry's instilling in this youngster. What we have here is a quickly established motif that sounds as if it comes straight from James Brown's band, the JBs, horns and all. John Lee and Gerry Brown give the song a bit of a Disco feel from the bottom end, the guitarists adding to this effect, while the R&B horns spice it up like an AVERAGE WHITE BAND song. At the same time Larry grabs the lead with his loud, distorted and compressed bluesy guitar, only spelled by a brief solo from Dave Sanborn's alto sax in the fourth minute. The song kind of drags along repetitiously ad nauseum, even as Larry solos. It's just that  (8.75/10)

3. "Pyramids" (5:21) some ISLEY BROTHERS/early KOOL AND THE GANG funk smooths out into some near-Disco stuff on this Mike Mandel composition. At 0:52 it then veers down a different road: somewhere in between the two. Lots of funk (even hand claps and slap-and-plucked bass!) and beneath Larry's bluesy guitar soloing. I'm a bit disappointed as I await some of his runs but only get blues scales and deeply bent notes in an almost BB King sound and style. (8.6667/10) 

4. "Rodrigo Reflections" (4:39) solo acoustic guitar on this Coryell composition that sounds more like a cross between Al Di Meola, Shakti John McLaughlin, and Gene Autry. Until the fourth minute, I don't hear much that even remotely reminds me of the guitar music of Joachin Rodrigo. The horse-effect percussion spanning the length of the entire song is rather cheesy. (8.875/10)

  
5. "Yin-Yang" (4:42) a Lee & Brown composition, it has the mathematically rigid (and soulless) formulaic structure that is, unfortunately, often endemic to John & Gerry's songs but it is, thankfully, livened up quite substantially by the horns section, bass and rhythm guitar play, as well as Larry's electric guitar flashes. (8.75/10) 

  
6. "Woman of Truth and Future" (6:06) though this Mike Mandel song starts out as a very pleasant and laid back spacious electric piano-led tune, it becomes a rather hypnotizing-borderline-obnoxiouss song as its second half is built over a whole-band two-bar riff that is repeated, without break, over the course of the song's final three minutes. It barely works without driving the listener crazy because it is such an unusual chord progression and melody line, but, at the same time, it is so mesmerizing that I often find myself totally tuning out the lead instruments on the top as I try to follow and figure out the odd melody path start to finish, over and over--and this is quite a feat due to the incredibly unusual "cat squealing" sounds being played over the top by Mike's synthesizer for part of that time. Unfortunately, Larry's guitar soloing in the final minute just finds itself buried in the carousel music of the rest of the band. At the same time, I rather like this song: as much if not more than any other on this album. (9/10)

7. "Ain't This" (5:02) thick, chunky rolling bass from composer John Lee is sandwiched between multiple funky keys and rhythm guitar tracks before being covered by the horn section and Larry's loud guitar. Of all the sounds Larry's used on the album up to this point, this is my favorite: it's quite raunchy but clear, like something between Jeff Beck, Ernie Isley, Hiram Bullock, and Dickie Betts & Duane Allman. Those "in-between" tracks from clavinet, electric piano, and very active and "talkative" rhythm guitar are quite amusing--make me want to come back to listen again. The horns are sharp and well-arranged, John's bass solid and tethering throughout, and Larry's guitar is some of the most enjoyable (for me) on the album. A very well developed and realized song. (9.25/10)

8. "Aspects" (4:24) back to a kind of early Kool & The Gang R&B (think "Hollywood Swingin'"). At the one minute mark everyone kind of shifts into Drive but then they hit thick highway traffic and have to make accommodations. I like the funk-R&Bness of this syncopated section. But traffic clears and smooths out and the band starts cruisin' down the highway giving Randy Brecker, Larry (using a Jan Akkerman-like guitar voice), and Mike Mandel plenty of excuses to shout out their enthusiasm for the speed and open top convertible. Definitely a top three song. (9.33333/10)

Total Time 41:31

A lot of the music on this album took many listens in order to capture all of the layers of sophistication being conveyed--an occupation that I very much enjoyed (despite the fact that R&B funk is not as much my jam as much as Jazz-funk is). Though this album may not be quite as enjoyable as its predecessor, it may offer a more mature and fully-developed selection of songs to the listener than Level One.    

89.53 on the Fishscales = B+/4.5 stars; a near-masterpiece of very tight, fully-formed R&B Funky Jazz-Rock Fusion.

JOHN LEE & GERRY BROWN Still Can't Say Enough (1976)

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! The presence of such Jazz Fusion luminaries as Mike and Randy Brecker,  Dave Sanborn, and Mtume (James Foreman) is reflective of the recording sessions for Still Can't Say Enough occurring at nearly the same time as the Eleventh House Aspects sessions in which they and John & Gerry participated.

Line-up / Musicians:
- John Lee / bass, percussion, keyboards
- Gerry Brown / drums, percussion
- Jon Faddis / trumpet
- Randy Brecker / flugelhorn, trumpet
- Michael Brecker, Ernie Watts / sax tenor
- David Sanborn, Gary Bartz / sax alto
- Ronnie Cuber / bar sax
- Barry Rodgers / trombone
- Ray Gomez, Reggie Lucas / guitar
- Harold Ivory Williams IV / organ & grand piano
- Ian Underwood / synthesizer
- Hubert Eaves II, Rob Franken / keyboards
- Mtume / percussion, vocals
- Cheryl Alexander, Tawatha Agee, Donald Smith / vocals

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

89.56 on the Fishscales = 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. 

MEDUSA Medusa (1978)

A John Lee & Gerry Brown album that was snuck into the market under the "Medusa" band name--probably due to the duo's attempt to encroach upon a different market than its usual Jazz-Rock Fusion one. This is definitely rock, Album-orient rock, at times close to hard rock (think Led Zeppelin, it was produced by John and Gerry with the help of Skip Drinkwater for Zembu Records.
 
Lineup / Musicians: 

 

- John Lee / bass

- Gerry Brown / drums, percussion

- James Batton / keyboards, vocals

- Eef Albers / guitar

- Darryl Thompson / guitar

- Jim Mahoney / guitar

- Cheryl Alexander / vocals

- Eric Tagg / vocals

A1. "Soul Free" (6:29) sounds like a cross between TOTO and KANSAS. Pushing a little too hard for the pseudo-prog rock side of AOR or "classic" rock. Fine musicianship, just a little over the top/pretentious. (8.75/10)

A2. "Heartburn" (4:14) the band's attempt at Led Zeppelin or AC/DC. Pretty good! (8.75/10)

A3. "Second-Hand Brain" (4:05) this is the band's attempt to close in on the heavy-hard-rock mixed-with-R&B sound of Chicago, The Jacksons, 38 Special, or Journey. The musicianship and production are great (as usual); the composition and melodies come up a little short. (8.75/10)

A4. "Our Love Is Surely Gospel" (4:13) taking a swing at a Country-Western R&B combo like the ATLANTA RHYTHM SECTION, DAVE MASOM, or (Kenny) Loggins (& Messina). This song could have earned some radio play. (8.75/10)

B1. "Medusa" (4:33) this one sounds like a R&B singer (think "The Trammps") over a Southern Rock band: it has worked in the past but never (in my recollection) to produce a major radio hit: Three Dog Night, Jeff Beck Group, Thin Lizzy, The Isley Brothers, early Parliament, and even  (8.75/10)

B2. "Hit And Run Lover" (4:02) another attempt to put an aggressive R&B singer over some hard/standard rock. Despite the great vocals (lead and b vox) and awesome rock guitar solo, this one is too formulaic milk-toast rock 'n' roll. (8.6667/10)

B3. "You Leave Me Hangin'" (5:33) sounds too much like a cross between Bonnie Raitt's "Turn Down the lights" and a song from Burt Bacharach's soundtrack to the film Arthur. It's nice--actually, really nice (I really like Eric Tagg's BILL WITHERS-like performance)--it just can't compete with the musical and lyrical hooks of the hit parade. (8.875/10)

B4. "Mr. C.T." (3:57) a hard rockin', hard drivin' instrumental with some great guitar soloing, start to finish. It just lacks those hooks I keep talking about. (8.75/10)

Total time: 37:06 

Despite great talent, I'm sorry to say that the only way that vocalists Eric Tagg and Cheryl Alexander were going to spawn a big hit were in the Soul/S&B markets--and the music here beneath their performances was not the type to generate interest/attention there. This is hard, classic rock music over which John and Gerry somehow thought R&B singers might work--as if they were going to create their own new niche on the Billboard charts. I commend them for dreaming big--and, as always, for their stellar musicianship (and production); I just think their vision was a bit delusional. 

87.55 = on the Fishscales = B-/3.5 stars; an album of great sound and musicianship that unfortunately tries to combine R&B vocals with hard rock music. It just doesn't hit the marks.

JOHN LEE & GERRY BROWN Chaser (1979)

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

88.28 on the Fishscales = B/four stars; an excellent adventure into a heavier, more mainstream-oriented rock fusion (not unlike much of Al Di Meola's solo production).

JOHN LEE / GERRY BROWN / EEF ALBERS / DARRYL THOMPSON Brothers (1981)

In December of 1980 the duo went back to Europe to record with long-time collaborators, guitarists Darryl Thompson and Eef Albers at Tonstudio Zuckerfarbrik in Stuttgart.

Line-up / Musicians:

- John Lee / bass guitar, piano (4)

- Gerry Brown / drums

- Darryl Thompson / guitars

- Eef Albers / guitars

A1. "Uptown Express" (6:13) back to try another attempt at a pop hit! What starts out sounding like Rick Springfield's "Jessie's Girl" with some funk bass play turns into The Knack and The Police (without the Ska). This being a Darryl Thompson composition, it is appropriate that he gets the first guitar solo: it's edgy and awesome but Eef's melodic smoothness and seamless runs outdo Darryl a bit, in my opinion--which is weird cuz this song is screaming out for raunchy, screaming rock soloing like Darryl's doing, but there's just something special about Eef's play that fits; it works. Too bad the foundational music isn't a bit more interesting and varied. (8.75/10)

A2. "Brothers" (4:34) more stellar guitar soloing but, unfortunately, it's played over some rather stiff and rigid/mathematically-structured music (composed by John and Darryl). The guitar playing is off the charts great, and the skill level of the rhythm corps is equally so, it's just so stiff! (8.75/10)

A3. "Rita" (5:07) picked solo guitar opens this one giving it a kind of BEATLES/JESSE COLIN YOUNG feel, but then the rest of the musicians join in and move the song into a rock version of what sounds like a standard blues song--at least until the end of the second minute when there is a brief switch over into a more dynamic GRAND FUNK RAILROAD-sounding motif. Unfortunately, this second "chorus" motif is far more interesting (and impressive) than the main theme--and composer and soloist Eef Albers' guitar is engineered oddly enough to make it sound as if he's not with the rest of the band--as if he's in his own containment shell (where he's channeling Jimi Hendrix). Really amazing guitar play, though! (9/10)

A4. "Rise On" (4:27) Blues guitar! Over what lays out to be a syncopated Jazz-Rock tune (by Gerry). It's Darryl again in the lead with Eef doing an awesome interplaying with him, just below his lead. I love John's piano chord play in the rhythm section and the cool motif switch at 2:22. John's cousins, Albert and Alvin, would be very proud of Darryl's work here. (Buddy Guy, too.) (9/10)

B1. "For Bill" (5:37) gentle picking on electric guitar opens this Darryl Thompson composition before bass, cymbals, and second guitar (Darryl Thompson) join in for some quite beautiful guitar soloing. When the full sound palette kicks in at the end of the first minute the groove continues to remain fully engaging with excellent support to Darryl's gorgeous play from the amazing trio of jazz rhythmatists. Some of the finest guitar soloing the 80s has ever presented to me! Wow! I've got tears flowing! Music doesn't get any better than this, folks! (10/10)

B2. "Close The Door" (4:43) that stinky Southern "Swamp" Rock vibe! Man! These guys are rollin'! This John Lee song sports some more amazing lead guitar play from Darryl Thompson (in the first half). Eef's solo in the second half is smooth but not as emotional and stinky as Darryl's--a bit too technical. (8.875/10)

B3. "Uncle William" (8:03) the other Eef Albers composition which had received rave reviews (for Eef's mind-blowing guitar play) in their concert tour following the Chaser album. In this version the tempo is picked up and the rhythm pattern is smoothed out to cruise along at a fairly straightforward speed. Eef does not disappoint with his fiery solos. (Looks like he has learned a lot from working side-by-side with Darryl.) What makes this song better than most of the Brothers fare is the variation and motif switches within the overall song: it makes it feel that much more thought out and polished. (13.75/15)

Total time: 38:44

Though I love the funk-jazz grooves John and Gerry have put up over the years, this hard-drivin' jazz-rock album may be my favorite: the guitar performances are just so great!

89.50 on the Fishscales = B+/4.5 stars; a near-masterpiece of guitar-showcasing rockin' jazz-rock and blues-rock. If you love great, hard-rocking guitar music, this might be right up your alley! As many reviewers/commenters have said: Eef Albers may be the best kept secret in the pantheon of guitar greats. (And Darryl Thompson, too!)