Horacee Arnold - 1974 [2011] "Tales Of The Exonerated Flea"

Reissue of this 1974 album from the Jazz drummer. Horacee Arnold has played with Charles Mingus, Roland Kirk and Bud Powell, just to name a few. His biggest notoriety came with the two Jazz-Fusion albums he cut for Columbia Records in the early 1970s. Tales of the Exonerated Flea features Jan Hammer, Rick Laird, Ralph Towner, John Abercrombie, Sonny Fortune and Art Webb.

In 1974, drummer and composer Horacee Arnold assembled a stellar cast of players for Tales of the Exonerated Flea, his second Columbia album. Following on the heels of 1973's acclaimed Tribe, Tales was recorded at the height of the jazz-rock fusion era. Arnold's vision was a wide-ranging one and he recruited players form all over the jazz world, from stalwarts like bassist George Mraz and flutist Art Webb, to vanguardists like Sonny Fortune, to hardcore fusion players like Weather Report's master percussionist Dom Um Romao, the Mahavishnu Orchestra's bassist Rick Laird, and keyboardist Jan Hammer. As if this weren't enough, Arnold even reached into ECM's roster and signed up their two iconoclastic guitarists Ralph Towner and John Abercrombie. 

The end result is one of the most fascinating, soulful and truly successful albums of the entire genre. What one hears in listening to Tales of the Exonerated Flea is a cast of players who are seeking to open up both rock and jazz to new modes of expression. There are no sterile chops or elongated knotty passages that serve neither rhythm nor harmony. What's happening here is real fusion, of style, language, color, rhythm, harmonic and melodic concepts as well as dynamics. An intense examples is "Sing Nightjar" with its intricate melody and fine, provocative solos by Towner on 12-string and Hammer. 

The initial funky Latin groove of "Benzele Windows" that is introduced to fiery effect by Romao is quickly underscored by Webb's brilliant flute work and added to by Abercormbie and Fortune playing in tandem. When Hammer's electric piano enters the fray, moving in counterpoint with Arnold's lightning rhythmnatism, the piece becomes a startling orgy of rhythm and complexity before the shimmering dark funk of Laird, Hammer, and Arnold creates a dark funky groove for Fortune's soprano solo. The title cut uses a striated, extended and tensely convoluted bop line to introduce a burning Latin flavored stomp undergirding a modal line in the head. 

The chugging rhythmic invention at the heart of "Chinnereth II" belies a rather delicate if involved melody line before the tune becomes a joyful song with many parts and choruses. In all, Tales of the Exonerated Flea is a fusion record of the very best kind, it's full of soul, restless adventure, high-wire soloing and dirty grooves. Reissued on CD by Rock and Groove in 2004, it should be explored by everyone interested in the development of jazz-rock.

A lost fusion classic from the early 70s – one of the only records cut under the leadership of drummer Horacee Arnold, but a heck of a great little set with a soaringly righteous sound! The style here is plenty full-on, but a bit less rock-leaning than some of the other Columbia fusion of the period – thanks to a spacious vision on Arnold's part, and the inclusion of a fair bit of sounds from world music. Players on the set include Art Webb on flute, Sonny Fortune on soprano sax, John Abercrombie on guitar, David Friedman on vibes and marimba, Dom Um Romao on percussion, and Jan Hammer on moog and electric piano – and although there's a fair bit of guitar in the mix, the other acoustic elements are kept nice and high too – for a blend that's almost like some of the best Brazilian fusion from later years, touched by a slightly funkier sound! Tracks really stretch out nicely, allowing for plenty of solo space as they roll on, in a way that's almost a cross between Strata East and some of the more familiar mainstream fusion modes of the time. Very hip stuff, with titles that include "Benzele Windows", "Tales Of The Exonerated Flea", "Euroaquilo Silence", "Puppet Of The Seasons", "Sing Night Jar", and "Delicate Evasions".

Track listing:

1 - Puppett of the Seasons 4:30

2 - Sing Nightjar 11:07

3 - Benzélé Windows - 6:53

4 - Tales of the Exonerated Flea 3:43

5 - Delicate Evasions 4:28

6 - Chinnereth II 8:05

7 - Euroaquilo Silence - 5:41

8 - Timios - 6:22 [Bonus track]

Personnel:

Horacee Arnold - Drums, Percussion, Timpani [Tymps]

Jan Hammer - Synthesizer [Moog], Electric Piano, Piano

John Abercrombie - Electric Guitar

Art Webb - Flute, Flute [Alto] 

Sonny Fortune - Soprano Saxophone, Flute 

Ralph Towner - Twelve-String Guitar 

David Friedman - Vibraphone, Marimba [Bass] 

Rick Laird, Clint Huston, George Mraz - Bass 

Dom Um Romao - Percussion 

Dave Johnson - Percussion, Congas

Collin Walcott - 1976 [2008] "Cloud Dance"

Cloud Dance is the debut album by American sitarist and composer Collin Walcott, released in 1975 on the ECM label. For this record Walcott was joined by the group Gateway consisting of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in March 1975, as was the group's debut Gateway. Abercrombie had worked with Walcott the previous year on David Liebman's Drum Ode (ECM 1046), and they collaborated again on Walcott's 1977 album Grazing Dreams.

The authors of the Penguin Guide to Jazz Recordings awarded the album 4 stars, praising its "freshness and originality," and stating: "'Prancing', for just tablas and double bass, is one of the most exciting performances in the ECM catalogue and convincing evidence of Walcott's desire to extend the idiom of the Garrison/Jones rhythm section... the album as a whole can quite reasonably be heard as a suite of related pieces that dance towards their thematic source in the closing title-piece."[7]

Writing for Vinyl Vault, Geoff Anderson commented: "The musicians were all top-flight and leaders in their own right. They came together and mixed the eastern and western sounds to create something like acoustic jazz-fusion with an Indian twist. Abercrombie's ethereal electric guitar, floating above and around Walcott's sitar is particularly effective in creating a dreamy, cloud-like ambience on several tunes. On the cut 'Prancing,' Walcott on tabla and Holland on bass put the 'dance' in 'Cloud Dance' with a particularly energetic and, yes, danceable performance."[8]

In an article at Between Sound and Space, Tyran Grillo called the recording "one of [Walcott's] most powerful albums ever to grace ECM's vinyl... grooves", and wrote: "The telephone wires on the cover are like the strings of some large instrument, with the sky as its sound box. Its clouds don't so much dance as perform, caressing endless waves of voices careening through the ether. The joy of Cloud Dance is that it makes those voices intelligible. Fans of Oregon, of which Walcott was of course an integral part, need look no further for likeminded contemplation."

Collin Walcott defined a corner of improvisation all his own with his unique approach to the sitar and tabla. When the newly-formed Gateway trio of John Abercrombie, Dave Holland and Jack DeJohnette joined him for “Cloud Dance” the results were magical.

The late, great Collin Walcott made his proper ECM debut on Cloud Dance (after an appearance three years earlier on Trios/Solos), where he was joined by the Gateway trinity—John Abercrombie, Dave Holland, and Jack DeJohnette—for one of his most powerful albums ever to grace ECM’s vinyl (and later, digital, thanks to a vital Touchstone series reissue) grooves. The marrow-warming twang of Walcott’s sitar sets up the opening “Margueritte” to be a long raga, when suddenly Abercrombie’s electric appears in kind, beckoning a chill entourage of bass and drums and touching off a pair of graceful solos from Abercrombie and Holland. The album’s remainder is fleshed out by a variety of intimate configurations. “Night Glider” and “Vadana” both feature guitar, bass, and sitar, the latter two instruments feeding beautifully off one another, the guitar weaving in and out where it may. The two duets between Walcott and Holland, however, are really where this album gilds its worth. Our frontman lays out plush carpets of tabla and sitar on “Prancing” and “Eastern Song,” respectively, over which Holland takes stock of every variation of pattern and thread count. The second of these pieces, while the briefest of the album, is also one of its most mesmerizing. Contrary to what the titles might have us believe, these are all genuinely realized pieces where the word “exotic” is but another puff of smoke in the breeze. And so, the heavy tabla and shawm-like guitar of “Scimitar” describes not the weapon wielded in the hands of countless white actors in uninformed filmic productions, but rather an exploration of the object on its own terms, tracing forms and histories, battles and silences alike, with due abandon. So, too, with the final and title cut that brings DeJohnette back into the mix for an animated closer.

The telephone wires on the cover are like the strings of some large instrument, with the sky as its sound box. Its clouds don’t so much dance as perform, caressing endless waves of voices careening through the ether. The joy of Cloud Dance is that it makes those voices intelligible. Fans of Oregon, of which Walcott was of course an integral part, need look no further for likeminded contemplation.

Track listing:

All compositions by Collin Walcott except as indicated.

"Margueritte" - 8:32

"Prancing" - 3:24

"Night Glider" - 6:40

"Scimitar" (John Abercrombie, Walcott) - 2:46

"Vadana" - 7:00

"Eastern Song" - 2:34

"Padma" (Abercrombie, Walcott) - 2:47

"Cloud Dance" - 5:47

Personnel:

Collin Walcott — sitar, tabla

John Abercrombie — guitar

Dave Holland — bass

Jack DeJohnette — drums

Jack DeJohnette - 1978 [2000] "New Directions"

 

New Directions is an album by Jack DeJohnette released on the German ECM label. It was recorded June 1978 at Talent Studio in Oslo and released in 1978.

New Directions found drummer/pianist Jack DeJohnette reflecting on the multiple routes his musical life had taken and summarizing them in a single band. “My idea was to put together a cast of unlikely characters”. He’d worked with Eddie Gomez in the Bill Evans Trio, played extensively with John Abercrombie in the Gateway trio and a new alliance with Art Ensemble trumpeter Lester Bowie reconnected Jack to the experimental spirit of the early AACM. “With Lester added we had four strong and very different characters, could cover a lot of musical areas, and the chemistry was fantastic.” New Directions, recorded in 1978, won France’s Prix du Jazz Contemporain de L’Academie Charles Cros.

Jack DeJohnette's New Directions was a jazz supergroup (circa 1978) made up of Lester Bowie (of the Art Ensemble of Chicago), Eddie Gomez (known for his work with Chick Corea), John Abercrombie (an ECM guitarist whose previous work had been in the John McLaughlin vein) and, of course, DeJohnette himself on Drums. I would call this music ambient jazz, with an eery, yet beautiful, dreamlike quality.
The playing (of DeJohnette, Abercrombie, and particularly Lester Bowie) on this album is revelatory.
DeJohnette's cymbal and snare work, recorded here in ECM's pristine clarity, seems to flow directly out of the collective unconcious. He plays endless variations on rhythms, never ceasing to groove, oh so subtly. If you broke his beats down measure by measure, any given measure would be enough for another drummer to fill an entire song.
John Abercrombie lays back and plays atmospherics throughout most of the album. He displays very little of the Mahavishnu-esque pyrotechnics he was wont to spew previous to this album. The atmosphere's he creates remind me of Brian Eno's ambient music at times. Maybe he had been listening to Robert Fripp. I don't know. But his playing is beautiful and unique throughout most of the album. In fact, while I doubt many 1980's pop/rock guitarists ever listened to this album, Abercrombie's playing here is an ambient jazz precursor to the playing of people like the Edge (on Unforgettable Fire), or Johnny Marr, or the guitar work on Joy Divisions Closer album.
But it is the trumpet of Lester Bowie for which this album most deserves to be remembered. While Lester did much great work in his life, he would often interrupt his best work to express the clown spirit which was so much a part of his nature. Here, though, Lester seems on a mission to express the entirety of his spirit. There's clowning to be sure, but it's framed in the larger picture of "Great Black Music, Ancient to the Future" which the Art Ensemble set out to express.
This album contains two tracks which should go down in the history of jazz as classics.
Bayou Fever is an extended, almost formless, field-holler with a a humid and surreal atmosphere. On this track Bowie plays the Blues as if he were it's culmination. It's not a blues, but Bowie's feel embodies the blues while, at the same time, being something else entirely.
Jack DeJohnette's piano ballad Silver Hollow is exquisite; touching and sentimental, without being sappy. Once again, Lester Bowie steals the show. Who would have guessed he could play this tenderly? His work on this track rivals Miles Davis' playing on tracks such as Blue in Green, Round Midnight, or Someday My Prince Will Come.

Jack's playing is perpetually crisp and inventive. He really has no clichés in his playing, yet his touch and feel are unmistakable. The real gem on this set has no drums at all, but Jack plays the piano. Silver Hollow is one of my favorite DeJohnette compositions, and its treatment here in the hands of Jack, John Abercrombie, Eddie Gomez and MVP Lester Bowie goes above and beyond. Buy it for that track, the rest is merely outstanding.

This is a great record -- nearly an all-time jazz classic. From the very first chords of "Bayou Fever," you're in a dreamscape created by four brilliant musicians at the very peak of their abilities, and enmeshed in a telepathic quartet setting that brought out the best in them. Abercrombie never sounded better -- he's at his most subtle and oracular here; Lester Bowie sounds like he's infected with some kind of voodoo that Miles himself never came down with; DeJohnette sounds like three guys, but never too busy, always selflessly stoking the groove; and Gomez is perfect here, adding lead notes that haunt the melodies like a voice you can't get out of your head. This is the stuff. The acoustic "Silver Hollow" at the end, after all that swirling blackness, is so beautiful it's almost too much!  

Track listing:

All compositions by Jack DeJohnette except as indicated.

    "Bayou Fever" – 8:40
    "Where or Wayne" – 12:25
    "Dream Stalker" (Abercrombie, Bowie, DeJohnette, Gomez) – 5:55
    "One Handed Woman" (Abercrombie, Bowie, DeJohnette, Gomez) – 10:49
    "Silver Hollow" – 8:24

Personnel:

Jack DeJohnette – drums, piano
John Abercrombie – guitar, electric mandolin
Lester Bowie – trumpet
Eddie Gómez – double bass

Gateway - 1995 "Homecoming"

Homecoming is an album by Gateway, a trio composed of John Abercrombie, Dave Holland and Jack DeJohnette. It was recorded in 1994 and released on the ECM label in 1995 and is the trio's first album since Gateway 2 in 1978. 

The Gateway Trio is a cooperative in the greatest sense of the word, as guitarist John Abercrombie, bassist Dave Holland, and drummer Jack DeJohnette are all respected players, composers, and bandleaders on the jazz scene. Even though this only the third Gateway recording and the group's first in 17 years, each group member collaborates frequently with the others. As a result there is always a great sense of interplay between Abercrombie's sometimes-mellow-sometimes-distorted guitar, Holland's huge toned bass, and DeJohnette's dancing drums. All of the compositions are by the band members and are wide-ranging in scope. Highlights include the title track, which begins as a medium swinger but drifts into collective improvisation before coming back to medium swing, Modern Times, with its melody reminiscent of "Yesterdays" over a samba feel, the rockish "How's Never" and "7th D," what one might call a "free blues." This is a fine return to recording for a great group".

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Gateway

https://jazz-rock-fusion-guitar.blogspot.com/search?q=John+Abercrombie

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Dave+Holland

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Jack+DeJohnette


Track listing:

    "Homecoming" (Holland) - 12:37
    "Waltz New" (Abercrombie) - 8:32
    "Modern Times" (Holland) - 7:31
    "Calypso Falto" (Abercrombie) - 7:46
    "Short Cut" (Abercrombie) - 6:12
    "How's Never" (Holland) - 7:34
    "In Your Arms" (Holland) - 5:48
    "7th D" (DeJohnette) - 9:30
    "Oneness" (DeJohnette) - 7:43

Personnel:

    John Abercrombie: guitar
    Jack DeJohnette: drums, piano
    Dave Holland: bass

John Abercrombie Marc Johnson Peter Erskine - 1989 [2019] "John Abercrombie Marc Johnson Peter Erskine"

John Abercrombie / Marc Johnson / Peter Erskine is a live album by jazz guitarist John Abercrombie with bassist Marc Johnson and drummer Peter Erskine that was recorded in 1988 in Boston and released by ECM Records in 1989.

An excellent trio outing with Abercrombie, inventive bassist Marc Johnson, and careening drummer Peter Erskine. The trio sometimes unite for piercing interpretations as on "Stella By Starlight," and other times collide and interact on furious rhythm dialogues and extended improvisations.

Recorded live at The Nightstage in Boston a long time ago (1988) it may be that venue no longer exists, or if it does, no longer features great jazz. April 21st 1988 would have been one night to have caught this great trio in full flight. Rather than guitar plus support, this programme is very much a collaborative and shared musical experience, especially concerning the impact Mr Erskine does have on the proceedings - the drums are prominent, though never domineering, from the opening track Furs on Ice, and there is even one track Drum Solo in which Mr Erskine demonstrates his skills especially subtley on the bass drum. Four of the tracks are " standards" or "classics" of American popular song made so by interpretations over the years by many greats, including the late great pianist Mr Bill Evans. Indeed, it is not drawing too long a bow to consider this CD a tribute by Mr Abercombie to Mr Evans - please note that bassist Mr Johnson was a former member of the Bill Evans Trio so such a tribute has a special resonance. Some of the tracks swing - Stella by Starlight - some cook - Samurai Hee Haw has a joyous guitar shout by Mr Abercombie - and some are just sheer beauty - Haunted Heart is wrenchingly so. I did not find the guitar synthesiser intrusive or annoying but musically effective in its context. Having listened to this CD a number of times over a decade, I can recommend it as defying the times. It remains a good listening experience.

Wonderful trio album from three beautiful musicians. Abercrombie is in great form. Mainly, all I want to say about this cd is that it is worth the price simply for the closing rendition of "Haunted Heart". Just hauntingly beautiful improvisation and musical interaction captured during live performance. I have only heard a handful of musicians express such raw emotion in this sense - I feel that this performance ranks among the greatest of such expressions.

Despite some negative opinions expressed toward the synth guitar in use on this album, I find that texturally, compositionally and sonically, the synth guitar is used beautifully throughout (guitar synthesis being a path sadly not followed by Abercrombie as time wore on). "Light Beam" in particular is one of the greatest uses of guitar synth i have ever heard. Breathtaking.

This album is quite simply not given the attention it deserves. If you have heard anything about it, or even just heard the samples on this page, buy it. You will not regret it.

Track listing:

01.    "Furs on Ice"    Johnson    7:28
02.    "Stella by Starlight"    Ned Washington, Victor Young    7:34
03.    "Alice in Wonderland"    Sammy Fain, Bob Hilliard    7:22
04.    "Beautiful Love"    Haven Gillespie, Wayne King, Egbert Alstyne, Victor Young    7:55
05.    "Innerplay"    Abercrombie, Erskine, Johnson    5:35
06.    "Light Beam"    Abercrombie    3:08
07.    "Drum Solo"    Erskine    3:00
08.    "Four on One"    Abercrombie    6:03
09.    "Samurai Hee-Haw"    Johnson    8:22
10.    "Haunted Heart"    Howard Dietz, Arthur Schwartz    5:26
Total length:    61:51

Personnel:

    John Abercrombie – guitar, guitar synthesizer
    Marc Johnson – double bass
    Peter Erskine – drums

Peter Erskine - 1986 "Transition"

Peter Erskine has done loads of work with the uber producer/arranger/composer Vince Mendoza. They've collaborated on some of my favourite jazz CDs - More or less all of Vince's solo stuff, Jimmy Haslip's "ARC" and Joni Mitchell's "Both Sides Now" so I was wondering how come Vince hadn't worked on any of Peter's albums?

Then I learned about this one browsing amazon.com a few weeks ago, while trying to see if Vince has anything new out. I ordered it without even listening to the sound samples and this album is a testament to the fact that good music never dates. This album was released NINETEEN years ago and it sounds as fresh as if it came out last month! It features some of my biggest heroes - Pete and Vince themselves (of course), with John Abercrombie, Joe Lovano and Bob Mintzer. Brilliant from beginning to end.

Great CD! I have owned this CD for 12 years. Two things to listen for: The variety of the cuts is amazing. It really keeps you suprised. Second, the intensity of Erskins music grabs you. I am not tired of it after 12 years.

Started listening to this CD again after some years - its still as vital and intriguing as I recall the first time - Definitely stands the test of time - outstanding.

The original album cover is very "scary/hairy" photo array of PE, but a great recording, nevertheless.
It's J. Abercrombie, M. Johnson, K. Werner, J. Lovano, B. Mintzer.

I remember Joe talking about making that date, it went down while i was studying with him. He said Erskine had been hanging at a lot of Paul Motian gigs and had really gotten into the trio with Joe and Bill Frisell. Erskine did some very nice writing on this record (he wrote some real melodies) the material covers a fair amount of ground with lots of different moods, but it still has a unified sound.

Recorded direct-to-2-track digital at Power Station Studios, New York City, on October 16 and 17, 1986.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=Peter+Erskine

 Track listing:

01     Osaka Castle     6:47
02     The Rabbit In The Moon     1:19
03     Corazon     5:04
    Suite: Music From Shakespeare's King Richard II
04     Introduction     1:31
05     Music Plays     7:16
06     Sonnet     2:32
07     Transition     8:02
08     End Hymn     2:39
    -
09     Lions And Tigers And Bears     2:58
10     The Hand Speaks Hold     8:04
11     Smart Shoppers     5:03
12     My Foolish Heart     5:14
13     Orson Welles (Intro)     0:52
14     Orson Welles     5:53

Personnel:

    Drums, Electronic Drums, Gong, Synthesizer, Computer, Producer – Peter Erskine
    Acoustic Bass – Marc Johnson (2)   
    French Horn – Peter Gordon (8)
    Guitar, Guitar Synthesizer – John Abercrombie
    Piano, Synthesizer – Kenny Werner
    Synthesizer – Don Grolnick (tracks: 3, 6, 10, 11)
    Tenor Saxophone – Bob Mintzer
    Tenor Saxophone, Soprano Saxophone – Joe Lovano

John Abercrombie - 1994 "Speak of the Devil"

Speak of the Devil is an album by jazz guitarist John Abercrombie with organist Dan Wall and drummer Adam Nussbaum that was recorded in 1993 and released by ECM in 1994.

The follow-up to While We're Young has a less melodic, more loosely structured feel, as if it were all kinetically inspired and freely improvised within various structures. The intuition or trust level of electric guitarist John Abercrombie, organist Dan Wall, and drummer Adam Nussbaum is clearly evident: They are listening, reacting, and responding to each other from measure to measure, and that is the basis for their music making.

It's a fusion of feelings, and those moods -- many times dark -- lie beneath the surface only to rise at their behest. The snarly, stealth, and swirling sound is evident on the introductory cut "Angel Food," courtesy of Abercrombie, Wall, and Nussbaum, respectively, going to a tick-tock beat that is positively blackened on the closer "Hell's Gate." In between you get two free, seemingly unstructured pieces: the unhurried "Now & Again" and the more reverent but interactive "Farewell." "Dreamland" is like "Angel Food" in attitude, while the collective improvisation "Mahat" has hopping 2/4 tom tom beats from Nussbaum moving into full drum kit swing.

The melodies are either nonexistent or harder to grasp; Abercrombie's searing or lilting guitar sound requires close attention. Skating around a melody for "Chorale," you actually get the impression the leader is building disparate, multiple, chameleonic changes within a more definite swing. A true melodic motif, albeit slight, informs "BT-U" in a more rock/R&B beat, while the waltz "Early to Bed" suggests a lovely, extrapolated Bill Evans line, perhaps from "Very Early." Though "While We're Young" was a definitive recording for Abercrombie's vaunted trio, this CD simply offers a different slant. It's the sign of a group either in transition of evolution, and whatever the case, it's an intriguing step for these three uncanny sonic explorers.

Despite all of this, it's an album of deep grooves, a searching and mysterious atmosphere, and above all some fabulous playing. Dan Wall and Adam Nussbaum play really great, but then they always do. In fact I really dig Adam Nussbaum's drumming in this music. He's the one lighting fires under this trio; and yes, I deliberately borrow that line from Miles. What he said of Tony Williams' amazing playing in his fabulous 60's quintet really comes to mind when I hear Adam Nussbaum's drumming bringing life to this particular music. It is inspired playing, and is probably the highlight of the album for me.

What's significant about the playing of John Abercrombie is that in my opinion his playing here is way ahead of anything he's done since. Purely on a guitar-playing level this one is right up there. There's some great solos from JA, and his rhythmic, chordal playing is also absolutely superb. For just one example, check out the wonderful comping behind Dan Wall's solo on 'Early to Bed'. It's an absolute master class! I don't think he's ever played better, but if he has someone please let me know!

On the down side, 'Speak of the Devil' does not contain many memorable compositions, if any; even though there are four JA originals. In fact the weak link, if there is one, is that none of these tunes really stick in your memory for long - I can't hum or recall any of the tunes beyond the time of actually listening to it. It's probably more a case of the abstract treatment than any inherant weaknesses in the compositions though, and this music, though not pretty, is absolutely engaging and totally captivating nonetheless. Though it may not be to everyone's tastes, it is absolutely great Jazz.

Guitarist John Abercrombie is joined by Adam Nussbaum on drums and Dan Wall on the Hammond B-3 organ in a trio recording that really does sound like three musicians making music together rather than a soloist and rhythm section. As always, Abercrombie plays with fluid grace, while Wall alternately simmers and flat-out burns on the B-3, with Nussbaum propelling things right along with his imaginative drumming, all captured with ECM's traditional attention to sound quality. This is a CD that will put your mind in a deep groove for 68 minutes, and as soon as it is over, you just might find yourself hitting the play button for another 68 addictive minutes, and then another...

Track listing:

1. Angel Food (7:55)
2. Now And Again (6:16)
3. Mahat (8:27)
4. Chorale (8:21)
5. Farewell (6:16)
6. BT-U (6:22)
7. Early To Bed (8:20)
8. Dreamland (9:12)
9. Hell's Gate (7:07)

Total time 68:16

Personnel:

    John Abercrombie – guitar
    Dan Wall – Hammond organ
    Adam Nussbaum – drums

Bob Mintzer John Abercrombie Marc Johnson Peter Erskine - 1990 "Hymn"

Robert Alan Mintzer (born January 27, 1953) is an American jazz saxophonist, composer, arranger, and big band leader.

Better known as a big band and session player, tenor saxophonist and bass clarinetist Bob Mintzer expanded his playing and his repertoire on this '90 quartet date. Working with guitarist John Abercrombie, bassist Marc Johnson, and drummer Peter Erskine, Mintzer moved into more probing, unpredictable, and challenging areas and played with more fire and conviction. Abercrombie, Johnson, and Erskine each fulfilled their reputations; the results were both enlightening and surprising.

Track listing:

1     Duo     2:50
2     Hymn     8:24
3     Re-Re     5:45
4     Modern Day Tuba     4:34
5     Children's Song     6:19
6     Little Motif     4:47
7     Weird Blues     5:32
8     Improvisation     7:27
9     The Dark Side     7:16

Personnel:

    Tenor Saxophone, Bass Clarinet, Liner Notes – Bob Mintzer
    Bass – Marc Johnson (2)
    Drums – Peter Erskine
    Guitar – John Abercrombie

John Abercrombie and John Scofield - 1984 [1996] Solar ''the bebop album''

Solar is a studio album by jazz guitarists John Abercrombie and John Scofield. It was initially released in 1984 by Palo Alto Records and reissued in 2001 by West Wind.

Guitarists John Abercrombie and John Scofield join forces for these early-'80s sessions, mostly duets while occasionally adding bassist George Mraz and drummer Peter Donald. They delve into the jazz canon with an intricate duet of "Solar," a driving, Latin-fused take of "Four on Six" (in which Abercrombie overdubs an electric mandolin), and a dreamy duo interpretation of "If You Could See Me Now." The sole standard, "I Should Care," fares just as well in their hands, which settles into a relaxed exchange between the two players as if they are playing for themselves alone. Scofield's "Small Wonder" is scored for the quartet, a bristling post-bop vehicle with a feature for Mraz as well. Abercrombie's introspective "Sing Song" best contrasts the styles of the two leaders, with the composer a bit more melodic and Scofield with a more brittle attack. This is an enjoyable CD that has stood the test of time very well.

I'm a huge Abercrombie fan and this album is one of my favorites. Scofield and Abercrombie dig down deep into some jazzy blues lines that make these two guitar players undeniably some of the most creative to ever play the guitar. Abercrombie is magical as always and Scofield is young, bold, and worthy to share the light with this jazz god. I feel like Abercrombie is passing the torch on to another generation. The album [Timeless] materialized the jazz-rock-fusion era by crossing boundaries and steering music into new directions (an unbeatable accomplishment.) This has been handed off to Scofield who has ever since been attempting to move jazz onto a new canvas.

Abercrombie was second only to McLaughlin among the guitarists of this epoch, to my taste; Scofield was not far behind. Both men had it over the great J Mac in that they played better with others. And this is a great interaction, not "two stars that can't play together", to quote Jelly Roll Morton. Figments of Pat Metheny are floating around here, and the harmonies are the harmonies we remember from Jarrett, ECM and the other masters of this period. I won't deny that there's a certain power of nostalgia at work here, but it's like a wine that never ages into superannuation.

A beautiful as the record was (original date was 1984, so I'm not sure whether it was issued on vinyl or CD - I have a cassette), it might have been stronger if all tracks had been dual electric, with no bass + drums. No criticism of those supporting musicians; just that my memory is a of a downright magical guitar duo.

This duo works as well together as Herb Ellis & Joe Pass, with the same amount of skill and taste. Definitely great listening at home, relaxing after a long day at work. The mood is subdued yet warm and enveloping. This makes me wish that they had worked together for more than just this one disc.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=john+abercrombie

https://jazz-rock-fusion-guitar.blogspot.com/search?q=john+scofield

Track listing:

1.    "Solar"    Miles Davis    4:10
2.    "Even Steven"    Abercrombie    6:51
3.    "Four on Six"    Wes Montgomery    6:25
4.    "Sing Song"    Abercrombie    6:22
5.    "Small Wonder"    John Scofield    6:21
6.    "I Should Care"    Sammy Cahn, Axel Stordahl, Paul Weston    6:39
7.    "If You Could See Me Now"    Tadd Dameron, Carl Sigman    6:02
Total length:    42:35

Personnel:

    John Abercrombie – guitar, electric mandolin, co-producer
    John Scofield – guitar, co-producer
    George Mraz – bass
    Peter Donald – drums

John Abercrombie - 1984 "Night"

Night is an album by guitarist John Abercrombie recorded in 1984 and released on the ECM label.

This surprising 1984 effort from John Abercrombie finds the guitarist in conversation with Jan Hammer, Jack DeJohnette, and Mike Brecker. The lack of a bassist on this session is not felt; the spaciousness of the music and the masterful playing of all parties involved keep the focus clearly on the melodies, both scripted and improvised. This can best be heard on the title track, a lovely, tear-wrenching ballad. On some of the more up-tempo tracks, Hammer covers the bass end with his keyboards almost like he is taking part in an organ trio. Unlike the high-velocity fusion that Hammer is best known for in his work with the Mahavishnu Orchestra, Al DiMeola, and elsewhere, his work on Night is highly subdued. In fact, his playing is one of the most pleasant things about this record. It's nice to hear him doing something other than blaring away at a million miles a minute. He really is an excellent keyboardist, and his range is often underappreciated. However, the excellent compositions by Hammer and Abercrombie are the strongest thing about Night. One of the best is the opener, "Ethereggae," which features an incredible guitar solo over a sparse, haunting synth figure and DeJohnette's incomparable comping. When Brecker adds his pointed, searching tenor, the despair and loneliness of the music are almost too much to bear. This record is the kind of album that one would like to hear while enjoying a late-night cigarette on the roof of a Manhattan apartment. Moody, atmospheric, and beautiful.

As its cover indicates, Night gives us a colorful, collage-like portrait of John Abercrombie, who jumps here into the urban deep end with smoky club atmospheres and tight jams. It’s a joy to see the guitarist working with Jan Hammer again, and the inclusion of Mike Brecker on tenor and Jack DeJohnette on drums make for a winning formula. Hammer adds a particular spike to this sonic punch, competently filling the session’s lack of bass while also fleshing out the production with an evocative sweep. Between the idiomatic blend of “Ethereggae” and the Timeless heat distortion of “3 East,” his billowing keys give Brecker more than enough room to show off his chops (he has hardly sounded better). This date isn’t all fun and games, however, for the rain-slicked streets of “Look Around” give us pause for reflection. Hammer reignites things in “Believe You Me,” which despite being the most straightforward track compositionally sports Brecker’s most uninhibited solo yet. The band saves the best for last with “Four On One,” which draws another ring of fire in an enthralling closer. DeJohnette gets his moment in the sun here as well.

Great combination of musicians! The whole album has an interesting sound. The Hammond organ is a bit of a departure from the typical Jan Hammer sound. Amazing playing from Michael Brecker, (as always) and the compositions are interesting with Abercrombie and DeJohnette's distinct styles. All musicians a featured to a great extent. If you're a fan of any of these players, you won't be disappointed.

This is one of my favourite records of all time & the opener "Etherreggae" one of my favourite tracks of all time. This album also marks (I believe) only Abercrombie's second experimentation with an organ largely replacing other keyboards (the first being "Timeless" in 1974) & personally I think the results are inspired (& certainly induced Abercrombie to repeat the "experiment" on two future albums, with Dan Wall stepping in for Jan Hammer). The other musicians on this disc are Mike Brecker (ts) & Jack de Johnette (d).
Take the aforesaid opener - beginning with a great 6-time repeated augmented B Minor chord with reverb by Abercrombie this track develops into a wonderfully slow reggae rhythm in major scale(s) with overdubbed guitar, a nice Brecker saxophone solo in the middle & a wonderful, uplifting closing electric guitar solo (joined in a wonderful burning conclusion by Brecker) featured. The second track "Night" encapsulates the mood of a reflective late evening at home alone perfectly & features brilliant soulful sax from Brecker plus nice acoustic piano from Hammer. Finally on Track 3 (Three East") Hammer's organ gets a decent workout but again, despite more great guitar work from Abercrombie, it's Brecker who steals the piece - ditto on "Look Around" which also features brilliant work from de Johnette (hitherto a tad understated).
Throughout the album the organ plays mainly an underlying supporting role & really sets a largely reflective & occasionally melancholic tone (although the pace noticeably picks up on the last two tracks). The album also displays Abercrombie's versatility & willingness to experiment as well as what a brilliant saxophonist Brecker was. Enjoy!!

Though something of an blip in the Abercrombie back catalogue, Night is far from benign. Aside from the effusive music, what really distinguishes this album is its sound. Another slam-dunk for engineer Jan Erik Kongshaug.

https://jazz-rock-fusion-guitar.blogspot.com/search?q=John+Abercrombie

Track listing:

1. "Ethereggae" (Jan Hammer) - 8:28
2. "Night" - 5:02
3. "3 East" - 4:33
4. "Look Around" - 9:02
5. "Believe You Me" - 7:42
6. "Four On One" - 6:42

Personnel:

John Abercrombie – guitar
Michael Brecker – tenor saxophone
Jan Hammer – keyboards
Jack DeJohnette – drums

Billy Cobham - 2001 "Rudiments" - The Billy Cobham Anthology

"Rudiments" connotes that this is essential for drummers-and the 24 tracks of straight-ahead, funked-up and rock-infused jazz make it a real treat for the rest of us, too! The tracks are from eight 1973-78 Atlantic LPs and the supporting players include Jan Hammer, John Scofield, Randy and Michael Brecker and more; includes Stratus; Spanish Moss; Flash Flood; Moon Germs; 29; Shabazz , and more. Nearly two and a half hours of awe-inspiring performances!

If ever anybody deserved a two-disc anthology of his offerings as a solo artist it's fusion drummer Billy Cobham. After making his stellar debut with John McLaughlin's Mahavishnu Orchestra, Cobham made eight records for Atlantic from 1973-1978. To varying degrees, these recordings were true statements on the state of jazz-rock fusion. Many blame Cobham for being a member of the technical-expertise-is-everything school, and to a degree it may be true. But the tracks collected here by Barry Benson and Nick Sahakian provide evidence of something else entirely: that along with technical expertise in spades, Cobham had soul, groove, and a handle on how powerful rock & roll could contribute to jazz improvisation if harnessed in the right way. And every single track on these two discs does exactly that and more. For starters there's the majority of Cobham's classic debut, Spectrum, that featured contributions from guitarists Tommy Bolin (speaking of rock & roll), John Scofield (as he has never been heard since), and John Tropea as well as Jan Hammer from the Mahavishnu band. Spectrum's two finest tracks, "Quadrant 4" and "Stratus," are screaming jazz-rock with just the right hints of funk and groove that would become the hallmarks of Cobham's records after that. Also on "Stratus" it's interesting to note that Cobham and Frank Zappa were going for the same keyboard sounds simultaneously, and not just sonics, but phrasing. The sounds were perhaps derived from the two using the same session players including George Duke, the Brecker Brothers, and Alfonso Johnson among others. All of disc one is pure gold; there's not a weak second on it. And for that matter, disc two is solid as well; it's just that by the time these sets were recorded, Cobham's musical focus had shifted from jazz-rock to jazz-funk. The same tom-tom rolls are there, the constant rim shifts, and shaking, thunderous bass drum blasts and pops. Because of the exhilaration on disc one what comes across clearer on the second set is just how intricate and compelling Cobham is as a composer. These are scripted roles, with plenty of room for improvisation in the middle and often at the beginning and end; they are wonders of musical sophistication and raw gritty funky soul. In addition to almost three hours of crushingly innovative music, the liner notes are chock full of an extensive bio, critical, and session notes, a few outtakes and unreleased cuts and a cool clear plastic slipcase. This set is a document from a classic time in the evolution of both rock and jazz, and should be regarded as an essential purchase by fans not only of Cobham's but Bolin's, Scofield's, Miles Davis' electric era, the Breckers', and of course Mahavishnu's. Zappa fans from the era would also appreciate much of the material here.

Cobham was one of the building blocks of jazz-rock fusion. By the time he started his recording career in 1976, he had been part of three of the most important bands of the '70s, Miles Davis's groups, Dreams, and the Mahavishnu Orchestra. A favorite of guitar players and fans because of the way he drives the string players, his debut album, Spectrum, is pure jazz-rock (featuring the late rock guitarist, Tommy Bolin, from the James Gang and Deep Purple). Bolin's tracks are at the beginning of this 24-track, two-CD retrospective and a very young John Scofield, is featured on guitar at the end of the CD. Back in the days before he joined Miles Davis, Scofield was part of Cobham's band that he co-led with George Duke, and of course, that band's funk classic, "Do What You Wanna" is included. In between those bookends are stunning examples of what it means to be a powerful drummer and to drive a band. There are liberal samplings of Cobham's solos, as well as tracks with his group that featured his partners from Dreams, the Brecker Brothers. Fusion lovers can't go wrong here, while smooth-jazz folks could gain a better appreciation of the roots of that genre.

The Good Book of fusion drumming, culled from a half-dozen years in the life of Billy Cobham. After serving in drum corps, the High School of Music and Arts, and the Army band, as well as gigging and recording with Kenny Burrell, George Benson and Junior Mance, Panamanian native Cobham was finally recommended by Jack DeJohnette to Miles Davis in 1969. Things took off like a bullet from there, and soon enough Cobham was firmly established as the Hot New Thing in jazz-rock drumming. He was also noted as a talented composer at the time.
Rudiments picks up following his tenures with Miles, Dreams and Mahavishnu Orchestra. Cobham debuted on Atlantic in 1973 with Spectrum and a band that included Mahavishnu keyboardist Jan Hammer, session bassist Lee Sklar, and young guitar wizard Tommy Bolin (who replaced Joe Walsh in the James Gang and Ritchie Blackmore in Deep Purple). The first five tracks on Disc 1 are drawn from those sessions, and they illustrate just what all the fuss over Cobham was about. His use of dual or triple bass drums presaged Alex Van Halen by years; in fact, Cobham is an acknowledged influence on most 70s and 80s hard-rock drummers. The hell-on-wheels “Quadrant 4” sets the pace for much of this anthology. Bolin is more honestly blues-oriented than John McLaughlin was, and this track sets the blues caravan rolling downhill without brakes. The long, tense synth and drums intro of “Stratus” collapses into a soulful, Zappa-ish guitar theme. The next three tunes are of similar temperament.

The remaining seven tracks of Disc 1 feature larger ensembles that include the Brecker Brothers and guitarist John Abercrombie. Randy and Mike Brecker poured more fuel on the Cobham fire, abetted by trombonist Glenn Ferris and keyboardists Milcho Leviev and George Duke alternately. “Spanish Moss” and “Flash Flood” are two sections of a tone poem powered by Latin percussion and urgent electric piano. The “Solarization” suite, “Lunarputians”, “Moon Germs” and “Solar Eclipse” (note Cobham’s preoccupation with things cosmic and atmospheric) continue the grand evolution of his pumped-up soul-funk-rock-jazz hybrid. The last track is perhaps the most dated of the bunch, rather like a Rocky soundtrack edit.

Disc 2 continues the odyssey with similar personnel and vibe. “Shabazz”, inspired not by Malcolm X but a chain of bakeries, begins with another thunderous drum solo and ends up in the same kind of groove as much of the prior disc. Things took a heavier turn with A Funky Thide of Sings, his crossover hit of ’75 that ushered in John Scofield. The Breckers’ “Some Skunk Funk” upped the ante of power fusion with its outstanding horn arrangement. “A Funky Thide...” has its roots in martial music as much as the funk. The following year, the horns were gone and Cobham was back to a quartet format. Scofield, bassist Doug Rauch and keyboardist George Duke (under the pseudonym “Dawilli Gonga”) recorded Life & Times, from which tracks 6-8 are drawn. As hot as the horn section was, the personnel reduction brings welcome breathing room for everyone to stretch out. Organist Allan Zavod makes an evocative guest spot on the title track, and Scofield’s own personality begins to emerge more fully.

Next are three tracks by the Cobham/Duke Band, including Scofield again and bassist Alphonso Johnson. Duke’s personal aesthetic, filtered through his experience with Zappa, dominates these tracks but Cobham is not to be denied, particularly his double-bass adventure on “Juicy”. The final track, “Arroyo”, marked the end of Cobham’s Atlantic contract in 1978. It’s back to the quartet again, with John Williams in place of Doug Rauch, and the melancholy vibe of the track indicates the closing of doors and moving on.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=Billy+Cobham

Tracks Listing:

Disc 1:
01. Quadrant 4 (4:32)
02. Stratus (9:52)
03. Anxiety/Taurian Matador (4:49)
04. Snoopy's Search/Red Baron (7:44)
05. All 4 One [Outtake]* (4:16)
06. The Pleasant Pheasant (5:23)
07. Spanish Moss (4:10)
08. Flash Flood (5:12)
09. Solarization: (11:11)
  a) Solarization
  b) Second Phase
  c) Crescent Sun
  d) Voyage
  e) Solarization Recapitulation
10. Lunarputians (2:33)
11. Moon Germs (4:57)
12. Total Eclipse (5:58)

Total Time 1:10:30 (70.5 mins)

Disc 2:
01. Shabazz (13:49)
02. Some Skunk Funk (5:11)
03. A Funky Thide Of Sings (3:41)
04. Panhandler (4:07)
05. Neu Rock N' Roll [Outtake]* (6:28)
06. Life & Times (7:01)
07. 29 (2:35)
08. Earthlings (5:07)
09. Hip Pockets - The Billy Cobham/George Duke Band (7:10)
10. Juicy - The Billy Cobham/George Duke Band (6:53)
11. Do What Cha Wanna - The Billy Cobham/George Duke Band (5:00)
12. Arroyo (4:13)

Total Time 1:11:11 (71 mins)

*Indicates previously unreleased tracks

Personnel:

- Billy Cobham / percussion
- Jan Hammer / keyboards (Disc 1 Tracks 1-5)
- Tommy Bolin / guitar (Disc 1 Tracks 1-5)
- Lee Sklar / bass (Disc 1 Tracks 1-5)
- George Duke / keyboards (Disc 1 Tracks 6-8, Disc 2 Tracks 9-11)
- John Abercrombie / guitar (Disc 1 Tracks 6-12)
- John Williams / bass (Disc 1 Tracks 6-8, Disc 2 Track 12)
- Lee Pastora / latin percussion (Disc 1 Tracks 6-8)
- Milcho Leviev / keyboards (Disc 1 Tracks 9-12 & Disc 2 Tracks 1-5)
- Alex Blake / bass (Disc 1 Tracks 9-12, Disc 2 Tracks 1-5)
- Randy Brecker / trumpet (Disc 1 Tracks 6-12, Disc 2 Tracks 1-5)
- Garnett Brown / trombone (Disc 1 Tracks 6-8)
- Michael Brecker / woodwinds & saxes (Disc 1 Tracks 6-12, Disc 2 Tracks 1-5)
- Glenn Ferris / trombones (Disc 1 Tracks 9-12, Disc 2 Tracks 1-5)
- John Scofield / guitar (Disc 2 Tracks 2-12)
- Dawilli Gonga / keyboards (Disc 2 Tracks 6-8 & 12)
- Alfonso Johnson / bass (Disc 2 Tracks 9-11)

...and countless additional musicians (who contributed to a lesser degree and are unfortunately too many to list)

Tony Williams - 1970 [2011] "Turn It Over"

The better of the two albums the Tony Williams Lifetime recorded in 1970, Turn It Over, is a far more focused and powerful album than the loose, experimental Ego, and one of the more intense pieces of early jazz-rock fusion around. In parts, it's like Jimi Hendrix's Band of Gypsys with much better chops. It's more rock-oriented and darker-hued than their debut, 1969's Emergency!, and the temporary addition of ex-Cream member Jack Bruce on bass and vocals alongside stalwart guitarist John McLaughlin makes this something of a milestone of British progressive jazz. The album's primary flaw is that unlike the expansive double album Emergency!, these ten songs are tightly constricted into pop-song forms -- only a swinging cover of Antonio Carlos Jobim's "Once I Loved" breaks the five-minute mark, and then only barely -- which reins in these marvelous soloists too much. This is particularly frustrating since pieces like the two-part "To Whom It May Concern" feature some outstanding solos (especially from McLaughlin and organist Larry Young, the group's secret weapon) that are frustratingly, tantalizingly short. Expanded to a double album, Turn It Over would probably surpass Emergency! as a pioneering jazz-rock fusion release; as it is, it's an exciting but mildly maddening session. All Music.

I had the great good fortune to see this band live many times during their brief tenure together. They were the most energetic, exciting and musically brilliant fusion group ever. This recording captures much of that excitement very vividly, as well as Tony's less than compelling vocals (he should have left the singing to Jack Bruce). The singing aside, the instrumental performances are transcendent. These guys took no prisoners and explored sonic realms that remain untouched since. Buy this CD, if for no other reason than the fact that Tony's drumming establishes, for all time, his pre-eminence as the greatest modern drummer. Nobody like him - EVER! By Richard James Schiffer.

I saw this lineup twice and this disc is so hot! Everybody's playing is through the roof.I wish Jack sang on this,but I know he had not been in the band very long yet.John,Tony and Larry could swing so hard and groove so deep....and with very unconventional jazz sounds at times.The music sounds crazy,powerful,druggy and total genius.Tony was not the world's greatest vocalist,but what the hell?He was almost great....had a cool texture in his sound at times. I will never get sick of this.The One Word bonus track should be in a time capsule....it was what was happening in 1970!! By David E.Stoltz.

If you are like me and owned every lp and cd incarnation of this awesome music then you will love this. It has all the grit and sheer power of the best with extra clarity and presence to boot. Neil Young said he didn't like digital because it ruined the sound of his distortion. Well, here is all that massive distortion and ruckus as clear as can be! The guitar and organ jump in to the room like never before. The grunt and groan are more intense. I am so glad Esoteric got this nailed! Many thanks!!! By groover.

Tony Williams Lifetime was the unit that adhered most to rock. Turn It Over continues the format of the brilliant Emergency: song formats that open to jams with Larry Young's amazing organ and John McGlaughin on guitar. Turn It Over also has Jack Bruce on bass.

It is also a more rocky album than Emergency. With the songs and solos more condensed, they hold more power than even the acid bath of the 1969 double album. Bruce's bass takes the chore of being the bottom from Young, allowing the organist to open up more. The result us jazz that rocks as hard as some of the hardest out there, then or now.

Having been a devoted Jack Bruce fan & musician myself, I first saw Tony Williams Lifetime at the Capital Theatre in Portchester NY at age 14. I was somewhat confused by what I heard, however so so interested that I could not move througout the concert. The music was not rock,blues or jazz by any of the traditional standards. (NOTE: Fusion had yet to a common genre). Jack played incredible bass, and in fact was reading off charts most of the night... The band was at its infancy and this may have been their first real gig... In spite of being confused as well being blown away by this new sound, I was confident that this new music was ahead of its time. John McLaughlin was playing riffs I never heard before.. Tony Willaims was so so new & fresh... (and with a no frills Gretsh Drum set), Larry Young produced sounds you never heard before on the Hammond. This was a band with no restictions, with a new powerful sound that was not quite ready for prime time... A few months later they were playing at Ungano's (A Small NY Club), being under age I was at first not allowed in, however I had some rare pictures of Jack with Graham Bond & Alexis Korner, Mr. Ungano showed these to Jack... & Jack invited me in to his dressing room. Jack asked if he could have the pictures... as he did not have them himself.. I obliged, we sat and talked for about 20 minutes... Also in the room was John McLaughlin playing & Larry Young talking to a reporter.. They performed that evening in front of a crowd of about 20... can you believe it!!!! They were doing things from Jack's Harmony Row LP (yet to be relesaed) and several tunes from Turn It Over, which was just released. This album was the true creation of what we now know as "Jazz Fusion", the interplay is so spectacular with a mixture of fine jazz & hard driving rock... The CD is meant to be played at a fairly high volume. The band shines on Chick Corea's - To Whom It May Concern (Pt 1 & 2), Coltrane's: Big Nick (Jack on the Upright Bass), Once I Loved (William's vocal & Young's organ display a spooky rendition of this classic), Vuelta Abajo is a hard driving rock/jazz power tune. There is not a bad track on the CD... I have read a few other reviews on this masterpiece and I can see why some can say it is dated a bit, however one must remember this was well before we were listening to Chick Corea's Return To Forever, Larry Coryell's Eleventh House,Miles Davis's true eclectic period (post Bitches Brew),John Abercrombie, Jeff Becks (Blow By Blow Masterpiece), The Mahavishna Orch..w/John McClauglin,Dave Liebman, just to mention a few... If you are a risk taker and innovator... This CD is for you... A True Classic!!!! ...PLAY IT LOUD!!! By Thomas Ferrandina.

CD Esoteric Recordings ‎- ECLEC 2257 (2011, Europe) Remastered by Ben Wiseman w/ a bonus track.

http://jazz-rock-fusion-guitar.blogspot.com/search?q=tony+williams

Tracks Listing:

1. To Whom It May Concern Them (4:20)
2. To Whom It May Concern Us (2:55)
3. This Night This Song (3:44)
4. Big Nick (2:43)
5. Right On (1:49)
6. Once I Loved (5:08)
7. Vuelta Abajo (4:57)
8. A Famous Blues (4:10)
9. Allah Be Praised (4:36)
10. One Word (3:45)

Total time 34:22


Line-up / Musicians

- Tony Williams/ drums, vocals, co-producer
- John McLaughlin / guitar, vocals
- Larry Young (Khalid Yasin) / organ
- Jack Bruce / bass, lead vocals (10)

Danny Gottlieb - 1989 "Whirlwind"

"Whirlwind" is pretty good late '80's fusion jazz from Danny Gottlieb backed by greats like John Abercrombie, John Herington, and Chuck Loeb on guitars, Mark Egan on bass, Bill Evans on sax, and many more.

Danny Gottlieb is one of the most popular drummers in jazz and contemporary music. While best known as the drummer in the original Pat Metheny Group, Danny, during the past 25 years, has performed and recorded with some of the world’s greatest musicians.
As a group member, he has worked with the following ensembles: Jeff Berlin Trio; Gary Burton Quartet; Stan Getz Quintet; Pat Metheny Group; Gil Evans Orchestra; Bobby McFerrin Trio; Eddie Gomez Group; Michael Franks Band; John McLaughlin’s Mahavishnu Orchestra; Al DiMeola Project; Mike Stern Trio; Manhattan Jazz Quintet; Manhattan Jazz Orchestra: GRP Big Band; Vanguard Jazz Orchestra; Joe Beck Trio; Lew Soloff Food Group; George Gruntz Concert Jazz Band; WDR Big Band; NDR Big Band; Tip Toe Jazz Orchestra; Randy Brecker Quartet; Neenah Freelon Group; Blues Brothers Band; Booker T and the MG’s; Jazz is Dead; Pete Levin Trio; Ali Ryerson-Joe Beck Group; Joanne Brackeen Quartet; Bobby Rydell; Joe Farrell Quintet; Andy Laverne Quintet; Jacqui Naylor Band; Fritz Renold Friends; Haru Trio; Knut Varnes Group; Carnegie Hall Jazz Orchestra; Loren Schoenberg Big band; Airto and Flora Purim Group; Chuck Owen Jazz Surge; Jack Wilkins Group, and many more…
Danny has also performed or recorded with: Sting; David Byrne; Herbie Hancock, Chick Corea; Jim Hall; Miroslav Vitous; Wayne Shorter; Larry Coryell; Kenny Barron; Rufus Reid; Branford Marsalis; Hiram Bullock; Bill Evans; Nana Vasconcellos; Trilok Gurtu; Dino Saluzzi; Mark Murphy; Chris Conner; Mike Abene; Gerry Mulligan; Clark Terry; Ernie Wilkins; Mike Wolff; Badal Roy; Hubert Laws; Mike Richmond; Jeff Richman; Russell Ferrante; Jimmy Haslip, and many more…
Danny appears on over 300 cd’s to date, including 5 Grammy winners. As a leader, Danny has 5 cd’s under his own name, 9 as co-leader of Elements, with Mark Egan; 2 as co-leader with Pete Levin, and 3 as co-leader of the Contempo trio, with Mark Soskin and Chip Jackson.

Tracklist:

01. Tropic Heat 
02. Reef Warriors 
03. Twilight Drive 
04. Just Passing By 
05. Return To Kali Au 
06. Percussion Of The Spirit 
07. Open Road 
08. Nevermore 
09. Hold On! 
10. Whirlwind 
11. Percussion Of The Spirit (Part 2)

Personnel:

Danny Gottlieb - Drums 
John Abercrombie, John Herington, Chuck Loeb - Guitars 
Cafe, Nana Vasconcelos, Trilok Gurtu - Percussion 
Mark Egan, Chip Jackson - Bass 
Doug Hall, Gregory Smith, Steve Sauber, Mitchel Forman - Keyboards   
Bill Evans, Lenny Pickett  - Saxophone 
Lew Soloff - Trumpet

Billy Cobham - 1974 [2014] "Crosswinds"

Crosswinds is the second album of fusion drummer Billy Cobham. The album was released in 1974. It comprises four songs, all composed by Billy Cobham. It was used as the basis for the Souls of Mischief's hit song "93 'til Infinity". Wiki

Billy Cobham's second date as a leader was one of his better sessions. Four songs (all originals by the leader/drummer) comprise "Spanish Moss -- A Sound Portrait," and, in addition, Cobham contributed three other pieces. The selections team him with guitarist John Abercrombie, both of the Brecker Brothers, trombonist Garnett Brown, keyboardist George Duke, bassist John Williams, and Latin percussionist Lee Pastora. In general, the melodies and the vamps are reasonably memorable. Cobham also takes an unaccompanied drum solo on "Storm." Worth searching for by fusion collectors.  All Music

Billy Cobham made this album at a pivotal point. The original Mahavishnu Orchestra had disbanded, John McLaughlin was wallowing, and jazz purists were beginning to complain about the rock influence. Billy helped show a new direction. Crosswinds opening suite has lush and sophisticated horn arrangments, soothing a subtly intense rhythm. The effect is like night, tropical breezes, just as he wants to convey. You can almost hear the ocean, the music of the wild Caribbean (no steel drums of course, just cool). The rest of the album alternates between hot and cool, with some funky fusion and a beautiful extended piece, Heathers, near the end, featuring a trombone solo that sounds like the soundtrack to a loving and relaxing dream. The album is inspired, Billy at his creative best, showing the jazz world a new dimension that fusion had not shown before. At 35 minutes it is a little short, but we have quality here, not quantity. This album belongs in any jazz or fusion collection. By D. M. Paine

"Crosswinds" has been in my vinyl collection since 1974, when I first picked up a copy at King Karol Records on 42nd Street in Manhattan. Well, I recently became reacquainted with this recording after picking up a CD copy at a "oh so trendy" record store in Haight-Ashburry, San Francisco. As I did then, I played the new CD over and over again, completely enraptured by Cobham's "Ripley's Believe or Not" staccatto drumming and Lee Pastora's smoking Latin percussion. Joined by the Brecker Brothers, George Duke, John Abercrombie, Alex Blake, John Williams, Garnett Brown and other great luminaries of early jazz fusion, Cobham and his willing partners beat and shape a veritable masterpiece. Drive along Big Sur and take in the vast and dramatic California skies and scarred bluffs and you'll begin to undertand what hues of emotions this exquisite recording conjures. Crosswinds alternates between adrenaline musical rushes and absolute sublime chill, creating a perfectly balanced sinuous stream of sound. Simply exquisite!  By Hector Reyes-erazo.

I got this album as a gift in 1974 when I was 19 years old. My unsuspecting sister had heard the name Billy Cobham, but did not realize what a masterpiece she had placed in my hands. Although a virtuoso drummer with monstrous chops, Billy doesn't let his virtuosity run away with him. Although those looking for impressive drumming will not be disapointed. His use of time on the the Crosswinds suite, his climactic "Storm" solo the driving end movement will satisfy drummers, air-drummers and percussion fans. This album exhibits Billy Cobham, composer and arranger. With a dark hues on his palette and a wide brush, Billy paints us quite a seascape. The "Pleasant Pheasant",one of my favorites, is energetic, driving, exciting and just a little bit funky. This features an exceptional and rhythmic drum solo. "Heather", what can I say about "Heather", hypnotic, seductive, well paced. It starts as a whisper of a siren's song and builds to what to date might be one of Michael Breckers most beautiful and haunting solos. This one is for the headphones, folks. "Heather" is worth the price of this recording alone. A stellar cast of musicians on this album work in concert and in symbiosis to produce one of the underated recordings in the "fusion" era. No pyrothechnics for it's own sake here. Impressive solo's abound within the context of the pieces. John Abercrombie, Michael Brecker, Randy Brecker, Garnett Brown, Lee Pastora ...etc., a dream team of musicians. This album should never have been gone this long from the CD shelves/racks/bins of music outlets. Few of Billy's recording measure up to this one in my opinion. By ND.NY 

Tracks Listing:

Spanish Moss - "A Sound Portrait":
1. a. Spanish Moss (4:11)
2. b. Savannah the Serene (5:14)
3. c. Storm (2:52)
4. d. Flash Flood (5:08)
5. Pleasant Pheasant (5:21)
6. Heather (8:40)
7. Crosswind (3:42)

Total Running Time: (35:08)

Line-up / Musicians

- Billy Cobham/ drums, percussion.
- John Williams/ guitar (acoustic), bass (acoustic), bass (electric).
- Randy Brecker/ trumpet.
- Garnett Brown/ trombone.
- John Abercrombie/ guitars.
- George Duke/ keyboards, vocals.
- Lee Pastora / percussions  

Various Artists - 2005 "Visions Of An Inner Mounting Apocalypse"

The Mahavishnu Orchestra was one of the true pioneers of jazz/fusion as was their leader, visionary guitar icon John Mclaughlin. This collection features stellar performances by some of today's greatest guitar talents including: John Abercrombie, Warren Haynes (Govt Mule), Jimmy Herring (Allman Brothers), Mike Stern (Miles Davis), Steve Lukather (Toto), Steve Morse (Deep Purple), Greg Howe (Michael Jackson, Justin Timberlake), Frank Gambale (Chic Corea), Jeff Richman and Dave "Fuze" Fiuczynski. Backed by an incredible band featuring Vinnie Colaiuta (Sting Frank Zappa), Kai Eckhardt (John Mclaughlin, Garaj Mahal) and Mitch Foreman, this is one fusion super session you can't afford to miss!!!

Guitarist Jeff Richman conceived of, produced, and arranged for this project. A tribute to the Mahavishnu Orchestra, it utilizes the same instrumentation, with Mahavishnu alumnus Jerry Goodman being a welcome addition on violin. Each song features a different guitarist and there is plenty of heat displayed by the individual but complementary players (practically every top fusion guitarist other than Al DiMeola), all of whom are rockish and passionate. One almost doesn't miss John McLaughlin, since the band is playing his songs and the guitarists are mostly influenced by him. The only change of pace from the intensity is the closer, a version of the relatively mellow "Follow Your Heart" (which predated the Mahavishnu Orchestra) featuring John Abercrombie. This project is well conceived, and one would imagine that John McLaughlin would appreciate the colorful tribute.

This all star jazz-fusion tribut CD features some of the greatest names in porgressive jazz fusion guitar, each paying tribute to guitar innovator, master musician, John McLaughlin, McLaughlin's Mahavishnu Orchestra was a ground breaking fusion group that essentially "wrote the book" of fusion. Artists featured: Steve Morse, John Abrecrombie, Dave "Fuse" Fiuczynski, Frank Gambale, Jimmy Herring, Warren Haynes among others.

This one is a MUST for Mahavishnu fans, and lovers of fusion guitar. Without exception the soloists understand the drawing power of each song they play. The orchestration in several cases actually improves on the original recording, in Lila's Dance, Jazz, and Can't Stand Your Funk. The MO's one weakness was its occasionally thin sound - and here each song gets the full treatment. The guitarists are literally tearing the place apart with every solo. And it is so fantastic to hear violinist Jerry Goodman in top form on several songs, like the original MO didnt play 30 years earlier. It's like he's the special guest star. Add to that how modern recording makes the music sound better, and you will love this music every bit as much as the originals.
A final tribute in the album is John Abercrombie's gentle and subtle rendition of one of McLaughlin's early, best songs, Follow Your Heart. Does anyone remember that from Joe Farrell's quartet LP? A beautiful song, and a perfect way to close and calm down from the joyful frenzy you have just experienced.

I am an old time Mahavishnu fan who has been going back down memory lane and rediscovering the band. Being a purist I NEVER buy tribute albums. I find them unnecessary & unworthy. I stumbled across the listing for this when I was buying the remastered version of Visions of Emeralds Beyond and after seeing that it contained some of my all time favorite players I decided to give it a shot. I'm so glad I did! I can't stop playing it.

What makes this tribute different? How about the inclusion of original band members to back up the guest guitarists! The contributions of the much underrated Mitchel Forman on Keys and the superb Jerry Goodman (often covering what was Ponty material)on violin are outstanding.

What are the highlights...nearly too many to list: Steve Lukather (Toto)shines on "Birds of Fire'. The Mike Stern (Miles Davis & solo work)and Jerry Goodman interplay on "can't Stand Your funk" is exceptional. I bought this in part because I am addicted to the Dixie Dregs but found Steve Morse playing a little too clean. (Most of the other players expanded beyond the Mahavishnu parameters but sadly not Morse). Jimmy Herring (Aquarium Rescue Unit & the Other Ones) strikes a nerve on "Meeting of the Spirits". "Jazz" is a nice unexpected inclusion from '84. Frank Gambale's (Vital Information) cover of "Dawn" again with Goodman is lively and memorable. As much as I admire Warren Haynes (Govt Mule/Allman Brothers) I was skeptical of how he might come across on a fusion LP; in truth "Lila's Dance" may be the best cut on the CD. The final wind down comes with John Abercrombie bringing us back to Earth with "Follow your heart" The whole cd is a solid pleasant surprise. If your an old fan give it a try. If you are a new fan listen to this first and then compare it to the original material; you'll be opening the doors to some great fusion.

Tracks Listing:

1. Birds Of Fire (6:47)
2. Can't Stand Your Funk (6:43)
3. Celestrial Terrestrial Commuters (4:46)
4. Meeting Of The Spirits (6:51)
5. Jazz (4:53)
6. Dawn (6:34)
7. Lila's Dance (5:22)
8. Faith (5:47)
9. Dance Of Maya (6:16)
10. Follow Your Heart (7:46)

Total Time: 61:45

Line-up / Musicians:

- Vinnie Colaiuta / drums
- Kai Eckhardt / bass
- Mitchel Forman / keyboards
- Jeff Richman / guitars

Guest musicians:
- Steve Lukather / guitar (1)
- Mike Stern / guitar (2)
- Jerry Goodman / violin (2)
- Steve Morse / guitar (3)
- Jimmy Herring / guitar (4)
- Frank Gambale / guitar (6)
- Jerry Goodman / violin (6)
- Warren Haynes / guitar (7)
- Jerry Goodman / violin (7)
- David Fiuczynski / guitar (8)
- Greg Howe / guitar (9)
- Jerry Goodman / violin (9)
- John Abercrombie / guitar (10)

Jim Hall - 1991 "Live At Town Hall" [Vol. 2]

James Stanley Hall (December 4, 1930 – December 10, 2013) was an American jazz guitarist, composer and arranger. Premier Guitar magazine stated that "It could be argued that the jazz guitar tree is rooted in four names: Django [Reinhardt], Charlie [Christian], Wes [Montgomery], and Jim [Hall]"

https://en.wikipedia.org/wiki/Jim_Hall_(musician)

Been listening to a lot of Jim Hall lately and happen to see this album. It has a long list of other great musicians playing in various settings from duo to large ensembles. Normally I don't like large ensembles but the compositions are very interesting as is the playing. Really enjoying this album a lot.  By Steve B.

I would suggest that anyone into JAZZ do your self a favor and buy this CD. I have spent hours listening to this CD. By sybilgoodson.

Track Listing:

(1) Hide and Seek  11:01
(2) How Deep is the Ocean  8:18
(3) Sancticity  8:56
(4) My Funny Valentine  7:52
(5) Careful  8:25

Personnel:

Guitar – Jim Hall, John Abercrombie, John Scofield, Mick Goodrick, Peter Bernstein
Bass – Ron Carter, Steve LaSpina
Drums – Terry Clarke
Piano, Synthesizer – Gil Goldstein
Vibraphone – Gary Burton

Billy Cobham - 1975 [1999] "A Funky Thide Of Sings"

A Funky Thide of Sings is a 1975 studio album by Billy Cobham.

The progressive rock band Caravan would be impressed with the album title. They too specialize in tricky album titles (just check out their 1975 album for proof!) A Funky Thide of Sings is either intended for those who prefer Billy's Crosswinds albums since there's more emphasis on jazz than usual (at least in the song "Moody Modes" which is the longest song here at 12 minutes) and of course, there's a LOT of funk (though not as much as the enthusiastic reviewers below led me to think).

And "Moody Modes" lives up to its name! At least initially. It's quite moody with the repetitive piano line and the dreamy synths. Soon the jazziness gets overwhelmingly loud and the song loses focus for a couple minutes. When the pace dramatically slows down a couple minutes in and a gentle piano solo occurs, I really enjoy this part. Reminds me of a peaceful rainfall in a forest. Soon it turns into a full-fledged piano jam reminding one of classical music. The really big Emerson, Lake & Palmer fan in me loves this part! Then a trumpet solo arrives that feels a bit out of place, but still okay since the notes are good... for the most part. It does wander a bit. Then a bass guitar solo comes in afterwards and tries rocking out on a few occasions which is when I *really* take notice of it. The dreamy jazzy theme returns to end the tune. Overall, a pretty solid song but the trumpet solo is a bit overlong.

"A Funky Kind of Thing" is all about the funk! Space rock drumming to be precise. Wow does this make me feel unstoppable! Like soaring to the moon on a big rocket and never looking back. Some may think this song never truly gets going since it's all about stopping/starting drum workouts, but I have to disagree. I think a lot of these drum patterns are quite good when approaching them under the right mindset. In fact it didn't take long at all to get into them! "Some Skunk Funk" opens on a boisterous note. Of course you can imagine how much funk there probably is... an abundance of it! This is a tightly constructed fast-moving song that focuses on horns playing swiftly to the rhythm, and a magnificent saxophone solo after. This song is written in similar fashion to the Mahavishnu Orchestra with all the sophisticated and tight time changes occurring.

"Thinking of You" is a guilty confession- I LOVE softly played synth instrumental music! There I said it. Despite how dated this sounds and stuck in the mid 70's, you know I just don't care because the mood is spectacular and relaxed. The melody is wonderful too. Oddly I can think of some video game music this might resemble. I'm thinking the Mega Man series, lol! The horns really give it flavor. Perhaps the saxophone solo is slightly out of place, but it too has enough melody that I don't mind. Ah, and then it gets mellow again like it was in the beginning before a jazzy guitar solo occurs (would've been nice if this part lasted a minute longer, huh). Just a great song!

"Panhandler" begins with an eerie type of ambience that reminds me of hiding under a rock until this unexplainable ominous danger above clears. But then... it clears out in a big way! In comes a jazzy rhythm with a funky horn riff. This song keeps a tight melody flowing and even when this extraordinary jazzy guitar solo comes in, the song remains high-octane and awesome. "A Funky Thide of Sings" (I guess is considered the title song- wow I never thought I'd experience confusion in figuring out what the title of an album is but this is one of those cases, haha) starts off a lot like "A Funky Kind of Thing" until turning into a rhythmic horn-drenched steady paced instrumental. Great sax solo near the end.

"Light at the End of the Tunnel" has a catchy intro riff that reminds me of a military march before shifting into a jazzier rhythm. Not sure what makes this song so irresistible, but it could be the heavy thumping bass in the background. Or the amazing Tommy Bolin-like guitar solo that comes in. "Sorcery" is based around a really cool swirling bass riff with other jazzy instruments coming in to enhance the atmosphere. Awesome keyboard solo that reminds me of the same one near the end of... Caravan's "The Love In Your Eyes" suite! Hard to believe I'd be bringing up Caravan's name twice in this review. Seriously Billy Cobham and Caravan are completely different artists 99% of the time!

Overall, the perfect album for Billy Cobham lovers!

Cobhams's long been revered as one of the best drummers on the planet , a distinction shared by only but a few of the top tiered pounders who ever picked up the sticks. A devout fusioneer who cut his teeth playing with the likes of legendary
axmen John McLaughlin , John Abercrombie & John Scofield - anybody who appreciates guitar jam will know of whom i write. Cobham's also surrounded himself over the years with nothing but the best sidemen and studio players such as the late great Michael Brecker and the always inventive bass player and ex Passport member Wolfgang Schmid. Cobham's thunderous drumrolls and triple kick bass drums are his signature sound and to hear them is to realize you'll always recognize , and appreciate what a great drummer sounds like.

Originally released in 1975. While elements of funk were always a part of his band's sound, it was now the primary focus. "Panhandler" stands out as the session's most memorable composition, while Milcho Leviev contributes nicely on "Moody Modes." Cobham fans will want to seek this out for the extended drum solo "A Funky Kind of Thing," which stands as one of the most original drum solos he ever recorded. Of particular interest here is the presence of John Scofield, who had replaced John Abercrombie. Not up to the standards of its predecessors, but a worthy purchase.

Tracks Listing:

1. Panhandler (3:50)
2. Sorcery (2:26)
3. A Funky Thide Of Sings (3:40)
4. Thinking Of You (4:12)
5. Some Skunk Funk (5:07)
6. Light At The End Of The Tunnel (3:37)
7. A Funky Kind Of Thing (9:24)
8. Moody Modes (12:16)

Total time 44:32

Line-up / Musicians:

- Billy Cobham / percussion, synthesizer, arranger & co-producer
- John Scofield / guitar
- Milcho Leviev / keyboards, arrangements (2,8)
- Michael Brecker / saxophone (excl. 3)
- Randy Brecker / trumpet (excl. 3), arrangements (5)
- Glenn Ferris / trombone (excl. 3)
- Larry Schneider / saxophone (1,3)
- Walt Fowler / trumpet (1,3)
- Tom Malone / trombone & piccolo (1,3)
- Alex Blake / bass, arrangements (4)
- Rebop Kwaku Baah / congas (1,3)

Allan Holdsworth - 1992 "Wardenclyffe Tower"

Wardenclyffe Tower is the seventh studio album by guitarist Allan Holdsworth, released in 1992 through Restless Records (United States) and JMS–Cream Records (Europe), and in 1993 through Polydor Records (Japan); a remastered edition was reissued in 2007 through Eidolon Efformation, containing three bonus tracks (alternative versions of "Tokyo Dream" from 1983's Road Games and "The-Unmerry-Go-Round" from 1985's Metal Fatigue) which were previously only available on the Japanese release. The album's title is a reference to the real life Wardenclyffe Tower, or Tesla Tower, designed by inventor Nikola Tesla in 1901. "Zarabeth" is named after a character in the Star Trek episode "All Our Yesterdays". Wiki.

This 1992 release features Holdsworth in conversation with usual compatriots Jimmy Johnson, Chad Wackerman, and Gary Husband. Keyboards are provided not only by Steve Hunt, but also by both Wackerman and Husband. Husband in particular demonstrates that his facility on the keyboards is equal to his skill on the drums. Despite the all-star cast of characters, there are certain peculiarities to Wardenclyffe Tower that prevent it from being numbered among Holdsworth's best work. One very obvious oddity is the strange and ill-advised ending to the opener, "5 to 10," which concludes with a toilet flushing and an annoying voice-over. Mistakes in judgment aside, there is something formless about this album, something that blurs the tracks together in a meaningless way. Holdsworth has always been more of a distinctive than a strong composer, and the batch of tunes that he contributes here is not very compelling. The title track, with its power-chord verse, and his collaboration with singer Naomi Star, "Against the Clock," are his strongest moments. The presence of Hunt's "Dodgy Boat" helps but it is not enough to elevate this album to the level of Holdsworth's past successes. This is not to say that there is not meaningful music on Wardenclyffe Tower, because there is. "Against the Clock," which features not only Star's voice but also the drums of Vinnie Colaiuta, is one such success. Holdsworth makes use of the SynthAxe guitar synthesizer on several tracks on Wardenclyffe Tower, the most effective use of which is here, where his solo emerges from empty space in a constantly accelerating fashion, like a boulder rolling down a hill (although Holdsworth's ascending line sets forth the impossible scenario of falling upwards). All in all, however, there is a lack of dynamic movement in the soloists and the compositions in general. Of value to Holdsworth completists, but not of much interest to casual fans.  All Music.

This was the first AH album I ever listened to. I was 15 years old. I'm a guitar player. But at the time I was taking drumming lessons. My drum tutor recommended me AH, Stevie Ray Vaughan and Eddie Van Halen. So I decided to give AH a try and this was the only album there. I popped the disc into my Discman and rode the London train.

Words cannot describe how awesome this album was. The solo on 5 to 10 nearly give me a teary eye. That's how affected I was with this album. Each and every song was amazing especially Zarabeth. There is no filler on Wardenclyffe Tower. Looking at the album cover and listening to the music took me to places where no spaceship could take me.

A few years down the line, I listened to the rest of his albums: Metal Fatigue, Secrets, Sand, Atavachron and None Too Soon. None of those albums seemed to equal Wardenclyffe. AH's guitar tone on Wardenclyffe was the best. Music-wise, it just gets right down to it. A lot of the songs on those albums are a bit meandering and I sort of questioned whether I wanted to become a collector of AH's albums. I decided not to. The only one I'll ever need or want is Wardenclyffe... and maybe None Too Soon. By Tuvshin_9595.

It's been years since I've listened to this CD. I am literally brought to tears when I hear Allan's haunting solo on Sphere of Innocence. I cannot fathom where his creativity comes from. It's like trying to figure out where outer space ends and what lay on the other side. It is a complete mystery. His technique is perfect, and as always, NOBODY has better guitar tone than Allan. He is simply one of the Earths gifts. It's been years since I've listened to this CD. I am literally brought to tears when I hear Allan's haunting solo on Sphere of Innocence. I cannot fathom where his creativity comes from. It's like trying to figure out where outer space ends and what lay on the other side. It is a complete mystery. His technique is perfect, and as always, NOBODY has better guitar tone than Allan. He is simply one of the Earths gifts. By M. Balazki.

You've been raised on super groups, avant garde, fusion and psychedelia; you are looking for the next group of guitar musicians to take you to the next level.....so waiting to guide you are Jeff Beck, John Mclaughlin, Terje Rypdal, John Abercrombie, Pat Metheny, ....... and (sigh) the ultimate chopmeister, Allan Holdsworth. It has been said he is happier in his live outings, but in this 1992 studio album, everything he had developed to that point; the blistering solo runs, the immaculate chord progressions, as well as command of the guitar technology available at that time, ...... all are beautifully captured for you in a hi-fibre wholemeal diet. Regardless of classifications, (is this intelligent guitar-rock, jazz-fusion, progressive or cross-genre...... and who really cares?), ..... the musicians on this CD are waiting to assist in your musical evolution, and take you to that next ... or next ... and possibly even next level. By John Ashford.

My review focuses on one song - Zarabeth. I've been a devoted listener to all forms of guitar music for 40 years. I have no reservations in saying that Zarabeth is the greatest guitar improvisation I've ever heard, it's exquisite in all ways: song composition (fantastic chord progression for an improvisation), solo structure (just listen to AH build this art - as if it were laid out in his from head to tail, from the first note), melody (what AH does throughout against the structure is sublime), technical (utterly phenomenal playing skills and tone control, brilliant amp tone), rhythm (his phrasing and accenting control much of the emotion and impact of the solo), and lastly, emotion. I have no doubt that this solo leaves every "guitar god" out there thinking, "I know nothing about the guitar". AH is truly on another planet. By AZ Cyclist.

Tracks Listing

1. 5 to 10 (5:36)
2. Sphere Of Innocence (5:58)
3. Wardenclyffe Tower (8:44)
4. Dodgy Boat (5:37)
5. Zarabeth (6:31)
6. Against The Clock (4:58)
7. Questions (4:07)
8. Oneiric Moor (1:41)

Total Time: 43:12

Line-up / Musicians

- Allan Holdsworth / guitar, SynthAxe (1,3,6), producer

With:
- Joel Schnebelt / spoken vocals (1)
- Naomi Star / vocals (6)
- Steve Hunt / keyboards (1,2,4,5)
- Jimmy Johnson / bass
- Gary Husband / drums (2,4), keyboards (3)
- Chad Wackerman / drums (1,3,5,7), keyboards (7)
- Vinnie Colaiuta / drums (6)