Miroslav Vitous
Czechoslovakian-born bassist Miroslav Vitous was a child prodigy who's scholarship to the famed Berklee College of Music in Boston, MA spawned a very successful career in music that became firmly-based in the United States. Despite early appearances and collaborations with noted musicians in his home country in his teen years, it was the connections made through Berklee (with country-mate Jan Hammer) and New York-based mentor Herbie Mann that paved the way for Miroslav's explosion onto the jazz and jazz-rock fusion music scene. Before his 24th birthday he had secured prominent roles on albums (and gigs with) Herbie Mann, Roy Ayers, Steve Marcus, Sonny Sharrock, Jack DeJohnette, Chick Corea, Larry Coryell, and Wayne Shorter as well as played with the likes of Herbie Hancock, John McLaughlin, Billy Cobham, Joe Zawinul, and Sadao Watanabe.
After four albums with Herbie Mann, the influential bandleader rewarded the bass phenom with an album of his own on his brand new fledgeling record label, Embryo Records. Though a gifted composer and able bandleader, Miroslav's production as a "solo artist" was relatively scant in his first decade of public prominence. You will find below only six studio album releases from the 1970s that boast Miroslav as the headlining artist. But he was ever active, appearing as a key collaborator and, often, composition contributor, on many of Jazz-Rock Fusion's premiere/landmark record albums of the decade.
WAYNE SHORTER Super Nova (1970)
MIROSLAV VITOUS Purple (1970)
Recorded in New York City on August 25, 1970, under the supervision and production of Miroslav's current bandleader, Herbie Mann. Herbie had just started his own music production label, Embryo, and here acts as both producer and distribution agent for this, 23-year old Miroslav's second record as a bandleader. Of the four hot-shot 30-somethings that participated in Miroslav's debut solo album nine months before, only John McLaughlin returns (and he only for one song).
Lineup / Musicians:
- Miroslav Vitous / bass, piano (B1, B3)
- Billy Cobham / drums
- Joe Zawinul / keyboards (A1, A2)
- John McLaughlin / guitar (B1)
A1 "Purple" (9:40) Billy Cobham's drums are so attention-grabbing that one forgets to listen to Miroslav's bass--which is supposed to be the lead instrument. Even when Billy is only playing rims and light toms (while Joe and Miroslav duet and duel) he is still mesmerizing. (Perhaps it's the way he's mixed: so forward and mostly on the left.) Still, Joe and Miroslav are both mighty impressive throughout. (This might be one of the more impressive Joe Zawinul performances I've heard--though it took two tracks of the electric piano to do so. I like it!) Billy's just putting on a show. (How can the others not want to just stop and watch in awe and wonder?!) Miroslav returns to bowing his double bass in the eighth minute (preparing us for Stanley Clarke). Great stuff! And not just for the phenomenon that was the young Billy Cobham. (He was 26 at the time of this recording). (18.5/20)
A2 "Mood" (7:34) Billy's on brushes for the opening of this one as Miroslav and Joe establish a soft, plodding pace with their calm spacing of their notes and chords. Miroslav picks up the bow to issue the first plaintive tones of melody and then Joe gets a turn to respond--just like a relaxed conversation over a bottle of red on a late-night couch review of a couples' day. The like attunement between the three artists throughout this song is really something to behold. A veritable masterpiece of three artists being mentally and spiritually "synched." (15/15)
B1 "Water Lilie" (8:57) the song opens with some quiet, spacious yet-very pregnant interplay between the three musicians (Miroslav, Billy and John McLaughlin) with Billy merely holding a beat on his hi-hat while the John plays around with some amazing chord selections (some of which was heard on Tony Williams' first Lifetime record [in "Vashkar"] and some of which will be heard in their different states of evolution on his first Mahavishnu Orchestra albums). Miroslav is triple-tracked with electric bass, bowed double bass, and electric piano all playing within the same areas of the song. How interesting to have John's guitar chord play vying for attention with all three of Miroslav's instruments. I wonder how this was recorded: Did John have the benefit of playing with any of Miroslav's tracks--live or recorded? Unfortunately, the song is more interesting for trying to follow/predict each of its five nearly-independent feeling tracks. Fortunately for me, the listener, Señor Cobham is never unleashed so I am able, therefore, to pay close attention to the work of McLaughlin and Vitous. (18/20)
B2 "Dolores" (4:10) recorded rather differently than the first three songs: with both drums and bass rather quieter or back further in the mix--the band is down to a duo now, but Billy Cobham and Miroslav have more than enough to offer on this Django Reinhardt-like jam. I love the way Billy's cymbal work matches all of the vim and verve that Miroslav puts into his bass and then the toms fill the spaces where Miroslav rests! Excellent entertainment. Too bad there wasn't anything as memorable as the album's opening song. (8.875/10)
B3 "It Came from Nowhere" (5:18) Another "quartet" with Billy Cobham delighting and impressing on his drum kit while Miroslav plays electric bass, bowed double bass, and a pretty impressive electric piano. Tbis one feels a little less finished, more haphazhard and uninspired (especially from Billy) than Side One's songs. (8.75/10)
Total Time: 35:39
This album may be where I find my favorite work from Joe Zawinul. The trio especially seem to have an incredible rapport and ease with one another as I've never heard Miroslav feel this much "a part" of an organic whole--though for three of the songs it took three tracks of his own expression to accomplish. Still, a very impressive album. I'm sure Herbie Mann felt no surprise (or misunderstanding) when Miroslav left him to fly off in another direction (to Weather Report) after their next album together.
92.166667 on the Fishscales = A/five stars; a minor masterpiece of Jazz-Rock Fusion featuring four artists reaching the absolute peak of their powers (but not yet fully aware of such). This album came as a real surprise to me; it is definitely one of the early masterpieces of this new style of musical expression.
B4. "Aim Your Eye" (6:57) a pretty decent funky jazz-rock fusion tune despite the weird background female vocal chants and weird synth "saw" guitar chords! (13.375/15)
Total Time: 42:06
Line-up / Musicians:
- Miroslav Vitous / bass, double bass, piano, electric piano, clavinet, guitar, synthesizers [MiniMoog, 360 System, string ensemble], producer
A2. "See You, November" (3:25) a gentle pop-jazz tune with wonderful conga-based music (great work from percussionist David Earl Johnson) and Jaroslav's breathy sax (double tracked--or chorused) played over some pretty extraordinary Latin Jazz bass playing and innovative synthesizer stylings from Kenny Bichel. Not only is it a mesmerizingly soothing, beautiful song, but Miroslav's bass playing is really something to behold. (9.75/10)
Having had fun experimenting with many new electronic enhancements (including keyboards and synthesizers) on his previous solo album, 1976's Majesty Music, we see here Miroslav taking a more serious and more independent approach--using only a single percussionist as his collaborator for each song while relying on his own talents for all the rest of the sound generation.
1. "Watching The Sunset Run" (8:02) a song that plays out more like a Weather Report song than any we've heard from the former WR member (and founder) as Miroslav plays his multiple tracks of basses with some periodic electric piano, ARP synth strings, and MiniMoog contributions with the cymbal-heavy multi-track contributions of long-time collaborator (and fellow Weather Report founding member) Don Alias. A cool song that also comes across as an OREGON/CoDoNa-like song. The melody production is okay, but the constant tension and urgency generated by the rhythm track is quite compelling. (13.75/15)
2. "Bassamba" (2:58) solo bass opens up with some flourishes and riffs before starting up a two-and sometimes three- chord Samba motif which Don quickly fall in line to support. Miroslav's bowed bass occupies the lead position while his electric piano and ARP synth strings add spice in the middle to give it a little Chick Corea flavor. Well done, Mr. Vitous! (9.125/10)
3. "Tiger In The Rain" (8:54) electric piano opens this one, playing a lot like Joe Zawinul (the man had just finished spending six years under the tutelage of his elder and fellow Eastern European)--for a long time before small contributions from Miroslav's other keys and basses as well as Don Alias' bongos and (later) timbales join in. I'm not sure what tiger Miroslav had observed to inspire this song--or if the title was just applied randomly from a saved list of previously generated song titles--but I don't see the connection--unless one were trying to account for the youthful play of a young cub experiencing the fascinating effects of the rain for its first few times. Not as interesting, developed, or dynamic as one might have hoped--and very little bass play! (17.25/20)
4. "Concerto In E Minor" (5:30) ARP strings and congas open this free-flowing, Indian-like song with electric piano and bowed electrified double bass that sounds remarkably similar to the low-end tones of SHAKTI's Shankar with his patented double-neck 10-string violin. There is a bit of a tempo and motif change in the fourth minute as Don and the electric piano start up a new pattern while Miroslav continues soloing with his bowed bass, but then the ARP strings kind of move to the front as Don and Miroslav step back a bit to make room for Miroslav's pizzicato double bass for the song's final minute. Odd and not feeling as "classical" as the title would seem to suggest. (8.75/10)
5. "Pictures From Moravia" (4:49) electric piano and bowed electrified double bass present and each play with the main melody while pizzicato bass and ARP strings add their periodic notes and flourishes. Things get a little heated in the second half of the second minute--especially with the bowed bass--but then shift in the third minute as the MiniMoog and electric piano sneak in for a little more shine. The ARP strings chords tend to spoil it for me; I think the song would have been much better with them left out. (They tend to "date" the music, as well.) (8.875/10)
6. "Sonata For A Dream" (5:39) opening with Armen's sparse, mostly-metallic percussion play, Miroslav focuses on (bombastic) piano as his main conveyor with ARP strings and MiniMoog providing a lot of the lead flourishes and melody. I do like the fact that this song presents a slowly building and more dynamic sonosphere than much of the album's other songs--even evoking some of the feelings that I feel are signatory to the experience of listening to a classical music sonata. (8.875/10)
Total time: 35:52
Despite years of collaborating with others (especially Joe Zawinul but also Herbie Mann and Wayne Shorter), I've always had this sense that Miroslav was a rather fiercely-independent artist, and I think that this album serves as proof of that. With his previous year's album he was still relying on collaborators while exploring new technologies but he was also taking on much more of the musical textures for himself: learning and attempting to take over the keyboards, electronics, and even engineering duties on Majesty Music, but now, with Miroslav we have the butterfly finally, if shyly, emerging from his cocoon to begin to create music that is most all of it his. A very challenging prospect, I've always thought that this "one-man band" approach (and attitude) can have a limiting, even detrimental, effect on the outcome--on the musical product. I've become convinced that collaboration, review, and feedback (even if it's critical), is important to a product that the public can and will connect with. Though Blue Note producer Michael Cuscuna is credited, I have a feeling that this was more Miroslav's solo project.
88.8333 on the Fishscales = B/four stars; an interesting and often intriguing album that presents one artist's vision most purely--with only one collaborator--a percussionist--to be held accountable to.
Recorded and mixed in Tokyo during November of 1978, this album could have been an attempt at the formation of a band with no particular leader (as the album cover's title only could be construed as indicating) or it could, as pretty much everyone in the world of discographic data collection has assumed, be considered a Miroslav Vitous album and project. My powers of deduction lead me to fall into this latter category--especially as the song that the album is titled after seems to be a one-man multi-track creation.
Line-up / Musicians:
- Miroslav Vitous / bass, electric bass, Mini-Moog, Solina string-ensemble
- Kenny Kirkland / piano, Fender Rhodes, Yamaha CP-70 (electric grand), Yamaha CS-50 (polyphonic synthesizer), Mini-Moog
- John Scofield / guitar
- George Ohtsuka / drums (Yamaha)
After four albums with Herbie Mann, the influential bandleader rewarded the bass phenom with an album of his own on his brand new fledgeling record label, Embryo Records. Though a gifted composer and able bandleader, Miroslav's production as a "solo artist" was relatively scant in his first decade of public prominence. You will find below only six studio album releases from the 1970s that boast Miroslav as the headlining artist. But he was ever active, appearing as a key collaborator and, often, composition contributor, on many of Jazz-Rock Fusion's premiere/landmark record albums of the decade.
HERBIE MANN Windows Opened (1968)
ROY AYERS Stoned Soul Picnic (1968)
HERBIE MANN Memphis Underground (1969) "Hold on, I'm Comin'"
STEVE MARCUS The Lord's Prayer (1969)
HERBIE MANN Live at the Whisky A Go Go (1969)
JACK DeJOHNETTE The De Johnette Complex (1969)
CHICK COREA Now He Sings, Now He Sobs (1969)
HERBIE MANN Stone Flute (1970)
LARRY CORYELL Spaces (1970)
HERBIE MANN Muscles Shoals Nitty Gritty (1970)
WAYNE SHORTER Super Nova (1970)
MIROSLAV VITOUS Infinite Search (1970)
This childhood friend of Jan Hammer had made the move to the United States after winning a scholarship to the Berklee College of Music in 1966. After a stint with flugelhorn pioneer Clark Terry in Chicago, he matriculated to New York at the invitation of Miles Davis in 1967 where he met Herbie Mann with whom he recorded two albums--one that was to come after this.
Infinite Search was recorded on October 8, 1969, with Herbie Mann producing. This January publication was one of the first releases of Herbie Mann's new label, Embryo Records. The album is also remarkable for bringing on board four of jazz-rock fusion's hottest fairly-young phenoms in John McLaughlin, Jack DeJohnette, Herbie Hancock, and Joe Henderson.
Lineup / Musicians:
- Miroslav Vitous / double bass
- Jack DeJohnette / drums (A1 thru B2)
- Joe Chambers / drums (B3)
- Herbie Hancock / electric piano
- John McLaughlin / guitar
- Joe Henderson / saxophone
A1 "Freedom Jazz Dance" (10:54) a basic show of fiery bass and drum skills with a notable display of unhinged guitar pyrotechnics in the sixth and seventh minutes. Despite the electrified contributions of Herbie Hancock and John McLaughlin, this music is still well inside the realms of what I'd call jazz. (17.5/20)
A2 "Mountain in the Clouds" (1:51) more display of Miroslav's youthful exuberance (he was only 22 when this album was recorded) with matching support from Jack DeJohnette. (4.375/5)
A3 "When Face Gets Pale" (7:38) a much more melodic and soothing dynamic from more processed (electric) sound palette, both Herbie and John softly and beautifully dance around on the wings while Miroslav sprints his seven and a half minute marathon. The drums remains more in the background while Joe Henderson doesn't even make an appearance. A much more pleasant listen than the previous two songs but I am still pretty surprised at the speed with which Miroslav thinks he needs to move in order to express himself. A top three song for me. (13.5/15)
B1 "Infinite Search" (6:49) slowing things down even further--even Miroslav himself!--Jack even relegating himself to brushes--it is Herbie's excellent, dreamy chord play that I most love about this song--though I do enjoy Miroslav's bass play when it's at this tempo: he's quite melodic in his play. Fascinating how John McLaughlin--the John McLaughlin--can discipline himself to sit in the background playing two notes over and over! But, I guess that's what the song calls for. Once again there is a notable absence of any saxophone. A top three song, for sure. (13.75/15)
B2 "I Will Tell Him on You" (11:00) sax and bass present the main melody near the start while everyone else tries to support, but then Miroslav takes off: racing toward some finish line that nobody else can see. Jack DeJohnette does the best at feeding off of the bassist's unbound energy but Herbie is also well-matched in his support. Joe Henderson and John McLaughlin don't get to spend enough time on the front lines, but are also up to the task when asked to join in--in that frenetic fifth minute, for example (Go! Jack!) And then, for John, the sixth and seventh (in which Miroslav is amazingly restrained despite still speeding along on autodrive). Herbie's solo in the eighth minute sounds so much like mice scurrying over the floor on their nighttime escapades, then being interrupted by the pouncing cat. Even Jack gets some spotlight in the ninth and tenth minutes. This song must have been the reward everyone received for showing up for these recording sessions. When everyone comes back together at the end of the tenth minute it is to recapitulate the melody themes of the opening minute. Good though still quite "traditional jazz" in both form and style. (17.5/20)
B3 "Epilogue" (6:57) a gentle, atmospheric closer. With jazz and jazz-rock fusion I am not always such a sucker for the slow and spacious songs or passages, but there is something quite arresting to Miroslav's melodies and the band harmonic constructs that I can really pick up on during these slower passages--something that penetrates deeper when there is space and time with which to process and let them reverberate and resonate. My other top three song. (14/15)
Total Time:
89.58 on the Fishscales = B+/4.5 stars; a near-masterpiece of pre-adolescent Jazz-Rock Fusion.
STEVE MARCUS, SONNY SHARROCK, DANIEL HUMAIR, MIROSLAV VITOUS Green Line (1970)
SADAO WATANABE Round Trip (1970)
MIROSLAV VITOUS Purple (1970)
Recorded in New York City on August 25, 1970, under the supervision and production of Miroslav's current bandleader, Herbie Mann. Herbie had just started his own music production label, Embryo, and here acts as both producer and distribution agent for this, 23-year old Miroslav's second record as a bandleader. Of the four hot-shot 30-somethings that participated in Miroslav's debut solo album nine months before, only John McLaughlin returns (and he only for one song).
Lineup / Musicians:
- Miroslav Vitous / bass, piano (B1, B3)
- Billy Cobham / drums
- Joe Zawinul / keyboards (A1, A2)
- John McLaughlin / guitar (B1)
A1 "Purple" (9:40) Billy Cobham's drums are so attention-grabbing that one forgets to listen to Miroslav's bass--which is supposed to be the lead instrument. Even when Billy is only playing rims and light toms (while Joe and Miroslav duet and duel) he is still mesmerizing. (Perhaps it's the way he's mixed: so forward and mostly on the left.) Still, Joe and Miroslav are both mighty impressive throughout. (This might be one of the more impressive Joe Zawinul performances I've heard--though it took two tracks of the electric piano to do so. I like it!) Billy's just putting on a show. (How can the others not want to just stop and watch in awe and wonder?!) Miroslav returns to bowing his double bass in the eighth minute (preparing us for Stanley Clarke). Great stuff! And not just for the phenomenon that was the young Billy Cobham. (He was 26 at the time of this recording). (18.5/20)
A2 "Mood" (7:34) Billy's on brushes for the opening of this one as Miroslav and Joe establish a soft, plodding pace with their calm spacing of their notes and chords. Miroslav picks up the bow to issue the first plaintive tones of melody and then Joe gets a turn to respond--just like a relaxed conversation over a bottle of red on a late-night couch review of a couples' day. The like attunement between the three artists throughout this song is really something to behold. A veritable masterpiece of three artists being mentally and spiritually "synched." (15/15)
B1 "Water Lilie" (8:57) the song opens with some quiet, spacious yet-very pregnant interplay between the three musicians (Miroslav, Billy and John McLaughlin) with Billy merely holding a beat on his hi-hat while the John plays around with some amazing chord selections (some of which was heard on Tony Williams' first Lifetime record [in "Vashkar"] and some of which will be heard in their different states of evolution on his first Mahavishnu Orchestra albums). Miroslav is triple-tracked with electric bass, bowed double bass, and electric piano all playing within the same areas of the song. How interesting to have John's guitar chord play vying for attention with all three of Miroslav's instruments. I wonder how this was recorded: Did John have the benefit of playing with any of Miroslav's tracks--live or recorded? Unfortunately, the song is more interesting for trying to follow/predict each of its five nearly-independent feeling tracks. Fortunately for me, the listener, Señor Cobham is never unleashed so I am able, therefore, to pay close attention to the work of McLaughlin and Vitous. (18/20)
B2 "Dolores" (4:10) recorded rather differently than the first three songs: with both drums and bass rather quieter or back further in the mix--the band is down to a duo now, but Billy Cobham and Miroslav have more than enough to offer on this Django Reinhardt-like jam. I love the way Billy's cymbal work matches all of the vim and verve that Miroslav puts into his bass and then the toms fill the spaces where Miroslav rests! Excellent entertainment. Too bad there wasn't anything as memorable as the album's opening song. (8.875/10)
B3 "It Came from Nowhere" (5:18) Another "quartet" with Billy Cobham delighting and impressing on his drum kit while Miroslav plays electric bass, bowed double bass, and a pretty impressive electric piano. Tbis one feels a little less finished, more haphazhard and uninspired (especially from Billy) than Side One's songs. (8.75/10)
Total Time: 35:39
This album may be where I find my favorite work from Joe Zawinul. The trio especially seem to have an incredible rapport and ease with one another as I've never heard Miroslav feel this much "a part" of an organic whole--though for three of the songs it took three tracks of his own expression to accomplish. Still, a very impressive album. I'm sure Herbie Mann felt no surprise (or misunderstanding) when Miroslav left him to fly off in another direction (to Weather Report) after their next album together.
92.166667 on the Fishscales = A/five stars; a minor masterpiece of Jazz-Rock Fusion featuring four artists reaching the absolute peak of their powers (but not yet fully aware of such). This album came as a real surprise to me; it is definitely one of the early masterpieces of this new style of musical expression.
EUGENE McDANIELS Headless Heroes of the Apocalypse (1971)
ZAWINUL Zawinul (1971)
HERBIE MANN Memphis Two-Step (1971)
WEATHER REPORT Weather Report (1971)
TIM HARDIN Bird on a Wire (1971)
WEATHER REPORT I Sing the Body Electric (1972)
WEATHER REPORT Sweetnighter (1973)
WEATHER REPORT Mysterious Traveller (1974) "American Tango"
FLORA PURIM Stories to Tell (1974)
CHICK COREA Circling In (1975)
LARRY CORYELL Planet End (1975)
MIROSLAV VITOUS Magical Shepherd (1976)
After eight years in the think of the foundation and development of Jazz-Rock Fusion, Miroslav apparently felt it important to "prove" to critics that he could play/do funk (which had become all the rage since Herbie Hancock's Head Hunters and Thrust albums in 1974 and 1975, respectively. So, who better to help him out than the jazz-funk-master himself!
Line-up / Musicians:
- Miroslav Vitous / bass, guitar [360 synth], synthesizer (MiniMoog)
- James Gadson / drums (A1, A2, B3, B4)
- Airto Moreira / percussion
- Jack DeJohnette / drums (B1, B2)
- Herbie Hancock / keyboards (Fender Rhodes, clavinet, synthesizers [Arp Odyssey, Arp String Ensemble, MiniMoog])
- Cheryl Grainger / vocals (A1, A2, B2, B3, B4)- Onike / vocals (A1, A2, B2, B4)
A1. "Basic Laws" (11:46) two female vocalists open this with some celestial chanting accented by bass notes and weird synthesizer sounds. At the 90-second mark the song funnels into a slow-tempo funk tune with clavinet, bass, congas, drums, and guitar and synth incidentals. The rhythm section remains totally constant while the vocalists, guitar noises, and synth noises play a bit over the top (far less than one would imagine). An occasional key shift seems to add impetus to try new things--especially the one at 6:30--and it does but not really enough. Still, as a funk song, this one has it. Whispered vocals repeating over and over "it's rhythm" join in for the ninth and tenth minutes but then slip back into the background celestial heraldry in the eleventh as the music thins out a bit (while remaining totally committed to the funk). Then it fades out. (22.5/25)
A2. "New York City" (9:32) a more up-tempo, near-disco tune from the first note with very funky wah-wah-ed clavinet and Fender Rhodes (Herbie at his very best!). Vocalists make their first appearance, briefly, around the one-minute mark and thereafter become like curious alien beings making background commentary (a previewof Newcleus' "wicky, wicky, wicky"?) The keyboard work in the third minute makes one think of Michael Jackson's "Wanna Be Startin' Something." The changes and variety of offerings make this one a real pleaser (despite the near-disco beat). And, yes: Miroslav can play funk! But, this for whatever reason, this is Herbie's song to shine on--even rivaling Billy Preston's "Space Race" in places. The shift into spacey dreamland in the seventh minute is very cool--very engaging--really giving Miroslav and Herbie room to show of even more of their keyboard and (for Miroslav) guitar ideas. (18.75/20)
B1. "Synthesizers Dance" (5:09) a syncopated more WEATHER REPORT-like attempt at funk: more spacious and less groove-oriented. Even the sounds being generated for lead instrument sounds are kind of off the wall--like something Parliament funkadelic would explore. Lot's of instrumental flare being shown off from multiple musicians here (and especially Miroslav)--which raises the interest/intrigue factor significantly. Good jazz-rock fusion. (8.875/10)
B2. "Magical Shepherd" (6:09) horn like call opens this before bass and Rhodes join in with lots of percussive noise from both Airto and Jack DeJohnette. The lady vocalists are back, this time singing in tandem, singing like a church or Broadway choir. It's actually kind of cool! And the music on top is interesting. At the end of the second minute there is some smoothing out of the basic music, almost committing to a set structure, then, just as you're getting used to it, things shift again into something more
jazzy, less committed to linear flow (sounding a little like some of Larry Coryell's brilliant, but chaotic, ideas). Guitar soloing ensues as Herbie and Jack play off of one another with some fun recklessness. Vocals return at the five-minute mark to give the song a kind of celestial stamp of approval into the finish. This one is not a funk song; it is jazz-rock. It is, however, very interesting--definitely worth repeated listens. And the song one which I like the effect of the female vocals the best. (9/10)
jazzy, less committed to linear flow (sounding a little like some of Larry Coryell's brilliant, but chaotic, ideas). Guitar soloing ensues as Herbie and Jack play off of one another with some fun recklessness. Vocals return at the five-minute mark to give the song a kind of celestial stamp of approval into the finish. This one is not a funk song; it is jazz-rock. It is, however, very interesting--definitely worth repeated listens. And the song one which I like the effect of the female vocals the best. (9/10)
B3. "From Far Away" (2:30) a song built around Cheryl Grainger's jazz vocal. Airto and Miroslav's synth bass, Arp, wah-ed rhythm guitar, and Arp strings (no Herbie on this one). Feels like an étude or interlude--definitely an ude. (4.375/5)
B4. "Aim Your Eye" (6:57) a pretty decent funky jazz-rock fusion tune despite the weird background female vocal chants and weird synth "saw" guitar chords! (13.375/15)
Total Time: 42:06
Another case in point to my argument that Jack DeJohnette--as extraordinary a drummer as he is--is not a funkster. I have the feeling that getting Jack to play funk was like asking Bill Bruford to play straight time (or, for that matter, funk!)
90.44 on the Fishscales = A-/five stars; a minor masterpiece of Jazz-Rock Fusion: one that is consistently of very high compositional and performative standards but does little to really excite or push boundaries. Also, an album that presents two rather strikingly different faces: the funk side with Herbie Hancock, Airto Moreira, and drummer James Gadsen, the other with jazz-stalwart Jack DeJohnette and funk-less Miroslav steering the rest of the musicians toward more jazz-traditional and Jazz-dominant (yet experimental) Jazz-Rock Fusion. Recommended to all Jazz-Rock Fusion enthusiasts. If anything, the performances of these top notch musicians might be worth it all on their own.
90.44 on the Fishscales = A-/five stars; a minor masterpiece of Jazz-Rock Fusion: one that is consistently of very high compositional and performative standards but does little to really excite or push boundaries. Also, an album that presents two rather strikingly different faces: the funk side with Herbie Hancock, Airto Moreira, and drummer James Gadsen, the other with jazz-stalwart Jack DeJohnette and funk-less Miroslav steering the rest of the musicians toward more jazz-traditional and Jazz-dominant (yet experimental) Jazz-Rock Fusion. Recommended to all Jazz-Rock Fusion enthusiasts. If anything, the performances of these top notch musicians might be worth it all on their own.
MIROSLAV VITOUS Majesty Music (1976)
An album that was recorded at Todd Rundgren and Moogy Klingman's "Secret Sound Studio," produced by Miroslav, and released by Arista Records in 1976, quite possibly in November. This was Miroslav's first record made with Arista and perhaps his first encounters with--or, at least, use of, the MiniMoog (via Todd & Moogy's in-studio equipment).
- Miroslav Vitous / bass, double bass, piano, electric piano, clavinet, guitar, synthesizers [MiniMoog, 360 System, string ensemble], producer
- Jaroslav Jakubovic / saxophones [baritone, tenor, alto], flutes
- David Earl Johnson / percussion, congas
- Rimona Francis / electric piano, synthesizer [string ensemble], wordless vocalese
With:
- Lenny White / drums (A1, A4, A5, B4)
- Gerry Brown / drums (A3, B1)
- Francesco Centeno / electric bass (A4, A5)
- Kenny Bichel / electric piano, synthesizers (A5)
- Bobby Goldman / drums (B3)
A1. "X Rated" (3:25) a catchy funk-jazz tune with some great musicianship--with the surprise inclusion of the Urszula Dudziak-like wordless vocalese coming from Israeli-born vocalist/keyboardist Rimona Francis. A great, solid song with some wonderful surprises (besides the delightful female vocalese): Lenny White's smooth yet syncopated drumming, Miroslav's funky, soloing electric bass play, the predominance of so many synth sounds, and the smooth yet not annoying sax play of Jaroslav Jakubovic. Yeah, it's Disco, but at least it's interesting--and progressive. (8.875/10)
A1. "X Rated" (3:25) a catchy funk-jazz tune with some great musicianship--with the surprise inclusion of the Urszula Dudziak-like wordless vocalese coming from Israeli-born vocalist/keyboardist Rimona Francis. A great, solid song with some wonderful surprises (besides the delightful female vocalese): Lenny White's smooth yet syncopated drumming, Miroslav's funky, soloing electric bass play, the predominance of so many synth sounds, and the smooth yet not annoying sax play of Jaroslav Jakubovic. Yeah, it's Disco, but at least it's interesting--and progressive. (8.875/10)
A2. "See You, November" (3:25) a gentle pop-jazz tune with wonderful conga-based music (great work from percussionist David Earl Johnson) and Jaroslav's breathy sax (double tracked--or chorused) played over some pretty extraordinary Latin Jazz bass playing and innovative synthesizer stylings from Kenny Bichel. Not only is it a mesmerizingly soothing, beautiful song, but Miroslav's bass playing is really something to behold. (9.75/10)
A3. "Majesty Music" (4:35) an edgier song that is dedicated to the late, great Duke Ellington (who passed on May 24 of 1974), this one veers more toward jazz and free jazz that has everybody kind of flying around like loose canons despite the fairly solid groove being laid down from Rimona Francis's droning string synth and Gerry Brown's (poorly recorded) drumming. Miroslav and Jaroslav seem to be having the time of their lives. Great musicianship doesn't automatically make for a great, listener friendly song--especially when there are deficiencies in the sound engineering department. (8.875/10)
A4. "New Orleans" (3:20) funky bass--coming from two different bass players, both playing at the same time! and Lenny White's wonderfully smooth and easy drumming supporting more wordless "vocalese" coming from not only Rimona but Miroslav's MiniMoog and Jaroslav's "distant" sax. Miroslav's work on heavily-effected super-funky clavinet and Fender Rhodes are also extraordinary. (9/10)
A5. "Do You, Don't You, Won't You" (3:00) a fun, disco-driving funk song that sounds like something straight out of a contemporary Michal Urbaniak album. Bowed bass, electric bass, layers of synthesizers (including bass notes/chords?), Lenny White's disco drumming, Jaroslav's three different saxophones and flute, all serve to make for a light and freeing little dance tune. The ABBA-like ending is a bit weird. (8.875/10)
B1. "Best Friends" (4:10) high-speed guitar and double bass (both coming from Miroslav) with sensitive and highly-skilled and amazingly-nuanced drums from Gerry Brown, fast-playing congas from David Earl Johnson, while Jaroslav screams out with his tenor sax as if he's some kind of John Coltrane or Pharoah Sanders. Interestingly, the song kind of smooths out--especially with regard to Jaroslav's sax play--for the final 45-seconds. Wow! Let's hear that again! Not necessarily a favorite but such an impressive display of skills and interplay! And it just keeps getting better with each listen! (9.375/10)
B2. "Streams And Fields" (3:04) two tracks of congas from David Earl Johnson with synth and bowed electric bass, Vangelis-like synth strings chord-washes, synth bass, and English boys choir-like vocalese from Rimona, and, later, sax from Jaroslav, this is really a carpeted interlude for Miroslav to play with his electronic effects on his bowed bass. But it is pretty cool! My favorite part is actually Rimona's almost-worded vocalese at the end. (8.875/10)
B3. "Folks" (4:40) Miroslav's pensive electric piano is soon joined by Jaroslav's "Funny Valentine" melody from his alto sax as Miroslav adds some synth strings and, finally, some double bass. But that's just the intro: at 1:20 piano and drums (courtesy of Bobby Goldman) and congas establish a comfortably-paced convertible-cruisin' groove within which the piano and Rimona's uncredited vocalese present melodies before Jaroslav's delay/echoed alto sax enters to finish off the radio-friendly smooth groove. Nice tune. (8.875/10)
B4. "Mount Shasta (Part II)" (3:57) electronic animal and space sounds and Flintstones-like Beatnick drums and congas reads: Star Wars Cantina (though it also reads Michal Urbaniak and Herbie Hancock). Jaroslav's echoed baritone sax gets an increase on its volume in the second half of the second minute, making it the lead animal in the stampede. (8.75/10)
B5. "Requiem For My Mother" (5:04) like a musical ode for a sunrise or sunset, synth strings chords, bass notes, plaintive salivay sax, and piano make this song quite gentle, respectful, and contemplative if not as emotional as I'd expected (from the title). (8.875/10)
Total time: 38:40
An album of very solid, consistent, mature and adventurous compositions of which two stand out head and shoulders above the rest. I love hearing Miroslav branching out: trying more instruments, incorporating more synths and electronic effects, while also showing how he is mastering the Latin and funk styles.
91.25 on the Fishscales = A-/five stars; a full-fledged minor masterpiece of Jazz-Rock Fusion. Miroslav is moving forward: toward the funk and electronic--and it's working!
MIROSLAV VITOUS Miroslav (1977)
Having had fun experimenting with many new electronic enhancements (including keyboards and synthesizers) on his previous solo album, 1976's Majesty Music, we see here Miroslav taking a more serious and more independent approach--using only a single percussionist as his collaborator for each song while relying on his own talents for all the rest of the sound generation.
1. "Watching The Sunset Run" (8:02) a song that plays out more like a Weather Report song than any we've heard from the former WR member (and founder) as Miroslav plays his multiple tracks of basses with some periodic electric piano, ARP synth strings, and MiniMoog contributions with the cymbal-heavy multi-track contributions of long-time collaborator (and fellow Weather Report founding member) Don Alias. A cool song that also comes across as an OREGON/CoDoNa-like song. The melody production is okay, but the constant tension and urgency generated by the rhythm track is quite compelling. (13.75/15)
2. "Bassamba" (2:58) solo bass opens up with some flourishes and riffs before starting up a two-and sometimes three- chord Samba motif which Don quickly fall in line to support. Miroslav's bowed bass occupies the lead position while his electric piano and ARP synth strings add spice in the middle to give it a little Chick Corea flavor. Well done, Mr. Vitous! (9.125/10)
3. "Tiger In The Rain" (8:54) electric piano opens this one, playing a lot like Joe Zawinul (the man had just finished spending six years under the tutelage of his elder and fellow Eastern European)--for a long time before small contributions from Miroslav's other keys and basses as well as Don Alias' bongos and (later) timbales join in. I'm not sure what tiger Miroslav had observed to inspire this song--or if the title was just applied randomly from a saved list of previously generated song titles--but I don't see the connection--unless one were trying to account for the youthful play of a young cub experiencing the fascinating effects of the rain for its first few times. Not as interesting, developed, or dynamic as one might have hoped--and very little bass play! (17.25/20)
4. "Concerto In E Minor" (5:30) ARP strings and congas open this free-flowing, Indian-like song with electric piano and bowed electrified double bass that sounds remarkably similar to the low-end tones of SHAKTI's Shankar with his patented double-neck 10-string violin. There is a bit of a tempo and motif change in the fourth minute as Don and the electric piano start up a new pattern while Miroslav continues soloing with his bowed bass, but then the ARP strings kind of move to the front as Don and Miroslav step back a bit to make room for Miroslav's pizzicato double bass for the song's final minute. Odd and not feeling as "classical" as the title would seem to suggest. (8.75/10)
5. "Pictures From Moravia" (4:49) electric piano and bowed electrified double bass present and each play with the main melody while pizzicato bass and ARP strings add their periodic notes and flourishes. Things get a little heated in the second half of the second minute--especially with the bowed bass--but then shift in the third minute as the MiniMoog and electric piano sneak in for a little more shine. The ARP strings chords tend to spoil it for me; I think the song would have been much better with them left out. (They tend to "date" the music, as well.) (8.875/10)
6. "Sonata For A Dream" (5:39) opening with Armen's sparse, mostly-metallic percussion play, Miroslav focuses on (bombastic) piano as his main conveyor with ARP strings and MiniMoog providing a lot of the lead flourishes and melody. I do like the fact that this song presents a slowly building and more dynamic sonosphere than much of the album's other songs--even evoking some of the feelings that I feel are signatory to the experience of listening to a classical music sonata. (8.875/10)
Total time: 35:52
Despite years of collaborating with others (especially Joe Zawinul but also Herbie Mann and Wayne Shorter), I've always had this sense that Miroslav was a rather fiercely-independent artist, and I think that this album serves as proof of that. With his previous year's album he was still relying on collaborators while exploring new technologies but he was also taking on much more of the musical textures for himself: learning and attempting to take over the keyboards, electronics, and even engineering duties on Majesty Music, but now, with Miroslav we have the butterfly finally, if shyly, emerging from his cocoon to begin to create music that is most all of it his. A very challenging prospect, I've always thought that this "one-man band" approach (and attitude) can have a limiting, even detrimental, effect on the outcome--on the musical product. I've become convinced that collaboration, review, and feedback (even if it's critical), is important to a product that the public can and will connect with. Though Blue Note producer Michael Cuscuna is credited, I have a feeling that this was more Miroslav's solo project.
88.8333 on the Fishscales = B/four stars; an interesting and often intriguing album that presents one artist's vision most purely--with only one collaborator--a percussionist--to be held accountable to.
ALPHONSE MOUZON In Search of a Dream (1978) "The Light"
JON HASSELL Earthquake Island (1978)
TERJE RYPDAL, MIROSLAV VITOUS, JACK DeJOHNETTE Terje Rypdal, Miroslav Vitous, Jack DeJohnette (1979)
MIROSLAV VITOUS Guardian Angels (1979)
Recorded and mixed in Tokyo during November of 1978, this album could have been an attempt at the formation of a band with no particular leader (as the album cover's title only could be construed as indicating) or it could, as pretty much everyone in the world of discographic data collection has assumed, be considered a Miroslav Vitous album and project. My powers of deduction lead me to fall into this latter category--especially as the song that the album is titled after seems to be a one-man multi-track creation.
Line-up / Musicians:
- Miroslav Vitous / bass, electric bass, Mini-Moog, Solina string-ensemble
- Kenny Kirkland / piano, Fender Rhodes, Yamaha CP-70 (electric grand), Yamaha CS-50 (polyphonic synthesizer), Mini-Moog
- John Scofield / guitar
- George Ohtsuka / drums (Yamaha)
With:
- Mabumi Yamaguchi / soprano saxophone (1, 2)
1. "His Meaning / Rising / Resoulution" (8:30) the album's opening song is credited to Miroslav Vitous. It has the sound palette typical of a majority of the bands from Jazz-Rock Fusion's Third and Fourth Waves--with, surprise, a lot of Weather Report influence--but it never veers into the realm of Smooth Jazz, remains jazzy and experimental from the opening minute's chord progressions through Miroslav's extended bass solo which dominates the third, fourth, and fifth minutes. Then there is a slow down in which saxophonist Mabumi Yamaguchi and guitarist John Scofield recapitulate the song's prevailing melody lines over Kenny Kirkland's lovely keyboard chord play. Mabumi and Kenny both solo during this pretty, extended WEA|THER REPORT-like section before coming back together for the finish. Nice song. (18.125/20)
2. "Inner Peace" (6:01) a pensive, slowed down affair attributed to Kenny Kirkland--whose meandering piano play fills the bottom while Mabumi and, later, Miroslav fill in the beautiful melody lines over the top. At the end of the third minute the bass becomes the accompanist while Kenny's piano is moved to the front. At the end of the fourth minute Mabumi returns to the front, Kenny to the middle ground, with Miroslav's double bass and bowed electric bass moving forward (though this latter, I suppose, could be the sound of experimental guitarist John Scofield's guitar). Nice trio work. (8.875/10)
3. "Guardian Angels" (5:45) Miroslav Vitous' only other accredited composition reveals bowed double bass with Mini-Moog accompaniment and, later, accents only. Strings chords also appear from time to time. Seeing that these three instruments are all among those attributed to Miroslav, this song could very well be the single creation of one person--which would then lend credence to the likelihood that this is a Miroslav Vitous project and album, not the product of a new supergroup. Unfortunately, the possibility that this is might be a one-man creation overrides any memory of its melodies or forms. (8.875/10)
4. "Off To Buffalo" (5:07) a John Scofield composition, this guitar-centric song is almost purely a somewhat-jazzy blues-rock vamp set up for guitar and Kenny Kirkland (or Miroslav's?)'s Mini-Moog play. This vampy blues-rock is just not the kind of music I like: it always feels like a cop out from having to compose anything serious or sophisticated--like the artist, composer, or band is just hoping to create enough solo magic to fill space. (8.75/10)
5. "Eating It Raw" (7:51) John Scofield's second composition feels a bit more thoughtful--presenting a kind of intelligent syncopation that is similar to that used by STEELY DAN during the 1970s. Though it plays out as another vehicle to show off John's guitar skill and ideas, it has quite a nice mix of interesting performances from all of the other band members playing beneath John. Also, the song has several interesting turns à la the Dan's international hit from the year before, "Peg." Sad that there is no saxophone on this one! (13.75/15)
6. "Shinkansen" (6:09) the second composition attributed to Kenny Kirkland turns out to be something that Pat Metheny must have found highly inspirational as it sounds like so much of his energetic Latinized songs of the next ten years. A solo percussion start gives little away as to the breakneck pace and intricate jazz weave to come over the five minutes that come after. Great solos from John's Metheny-esque guitar, Kenny's electric piano and Mini-Moog as well as Miroslav's dynamic machine gun-electric bass play. Again, where is the saxophone? Definitely my favorite song on the album. (9.333/10)
- Mabumi Yamaguchi / soprano saxophone (1, 2)
1. "His Meaning / Rising / Resoulution" (8:30) the album's opening song is credited to Miroslav Vitous. It has the sound palette typical of a majority of the bands from Jazz-Rock Fusion's Third and Fourth Waves--with, surprise, a lot of Weather Report influence--but it never veers into the realm of Smooth Jazz, remains jazzy and experimental from the opening minute's chord progressions through Miroslav's extended bass solo which dominates the third, fourth, and fifth minutes. Then there is a slow down in which saxophonist Mabumi Yamaguchi and guitarist John Scofield recapitulate the song's prevailing melody lines over Kenny Kirkland's lovely keyboard chord play. Mabumi and Kenny both solo during this pretty, extended WEA|THER REPORT-like section before coming back together for the finish. Nice song. (18.125/20)
2. "Inner Peace" (6:01) a pensive, slowed down affair attributed to Kenny Kirkland--whose meandering piano play fills the bottom while Mabumi and, later, Miroslav fill in the beautiful melody lines over the top. At the end of the third minute the bass becomes the accompanist while Kenny's piano is moved to the front. At the end of the fourth minute Mabumi returns to the front, Kenny to the middle ground, with Miroslav's double bass and bowed electric bass moving forward (though this latter, I suppose, could be the sound of experimental guitarist John Scofield's guitar). Nice trio work. (8.875/10)
3. "Guardian Angels" (5:45) Miroslav Vitous' only other accredited composition reveals bowed double bass with Mini-Moog accompaniment and, later, accents only. Strings chords also appear from time to time. Seeing that these three instruments are all among those attributed to Miroslav, this song could very well be the single creation of one person--which would then lend credence to the likelihood that this is a Miroslav Vitous project and album, not the product of a new supergroup. Unfortunately, the possibility that this is might be a one-man creation overrides any memory of its melodies or forms. (8.875/10)
4. "Off To Buffalo" (5:07) a John Scofield composition, this guitar-centric song is almost purely a somewhat-jazzy blues-rock vamp set up for guitar and Kenny Kirkland (or Miroslav's?)'s Mini-Moog play. This vampy blues-rock is just not the kind of music I like: it always feels like a cop out from having to compose anything serious or sophisticated--like the artist, composer, or band is just hoping to create enough solo magic to fill space. (8.75/10)
5. "Eating It Raw" (7:51) John Scofield's second composition feels a bit more thoughtful--presenting a kind of intelligent syncopation that is similar to that used by STEELY DAN during the 1970s. Though it plays out as another vehicle to show off John's guitar skill and ideas, it has quite a nice mix of interesting performances from all of the other band members playing beneath John. Also, the song has several interesting turns à la the Dan's international hit from the year before, "Peg." Sad that there is no saxophone on this one! (13.75/15)
6. "Shinkansen" (6:09) the second composition attributed to Kenny Kirkland turns out to be something that Pat Metheny must have found highly inspirational as it sounds like so much of his energetic Latinized songs of the next ten years. A solo percussion start gives little away as to the breakneck pace and intricate jazz weave to come over the five minutes that come after. Great solos from John's Metheny-esque guitar, Kenny's electric piano and Mini-Moog as well as Miroslav's dynamic machine gun-electric bass play. Again, where is the saxophone? Definitely my favorite song on the album. (9.333/10)
Total time: 39:23
The performances of all musicians involved in this project are quite impressive and the songs quite above average though I would single out special acclamations to Miroslav and surprise drummer George Ohtsuka with guitarist John Scofield and keyboardist Kenny Kirkland and saxophonist Mabumi Yamaguchi, when present, also performing at very high levels.
90.278 on the Fishscales = A-/4.5 stars; a near-masterpiece of impressive Third Wave Jazz-Rock Fusion from some great Jazz-Rock Fusion artists.
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