Allan Holdsworth - 1983 [2014] Road Games

Road Games is an EP (or, according to its vinyl sleeve, a "specially-priced 6-cut mini album") by guitarist Allan Holdsworth, released in 1983 through Warner Bros. Records originally on vinyl only;^[1] a CD edition was reissued through Gnarly Geezer Records in 2001, although to this day Holdsworth claims to have received no royalties from either release.^[3] He has also named it as one of his least favourite recordings, due to numerous creative differences with executive producer Ted Templeman.^[4] Road Games nonetheless received a nomination for Best Rock Instrumental Performance at the 1984 Grammy Awards.

John W. Patterson of AllMusic gave Road Games four stars out of five, describing it as "fusion-rock bliss" and Holdsworth's guitar work as "amazing". He also praised Wackerman's "tastefully poised" drumming and Jeff Berlin's "killer" bass work.

Short but sweet: this 24-plus-minute re-release of an '80s-era solo effort originally appeared as a vinyl EP, and has never before been issued on CD. It is a unique mix of great vocals with a more rocking, bluesy, and jazzy quasi-mainstream song-themed balladic thrust. This release showcases Allan Holdsworth playing less "out there." Don't misunderstand -- the guitar is amazing: multi-voiced, fusion-fired, ethereally chorded, delightfully crystalline clear, note-flourished, and swooningly embellished. Add in the vocals of Jack Bruce for that Cream flashback or the I.O.U. band feel of Paul Williams' crooning, back to back with killer bass by Jeff Berlin and tastefully poised drums by Chad Wackerman, and you have fusion-rock bliss.Holdsworth addicts have waited a very long time for this to appear in the CD format. So go for it. It sounds great all over again. The original album cover graphics and notes are included.

Influential guitarist Allan Holdsworth's "Road Games" is the compact disc re-release of the most coveted Holdsworth release ever! The album features the original six tracks with Jeff Berlin on bass guitar and Chad Wackerman on drums, with special guest Jack Bruce on vocals. Paul Williams also provides guest vocals on one track, making this a three instrumental, three vocal release. three instrumentals, and three vocal tracks. Nevertheless, many critics and fans call 1983's "Road Games" one of Holdsworth's finest (and definitive) recordings, and essential listening for any fan of the electric guitar, legato playing, and jazz/fusion in general. Nominated for a Grammy Award for Best Rock Instrumental Performance.

Track Listings

1. Three Sheets to the Wind

2. Road Games

3. Water on the Brain, Pt. 2

4. Tokyo Dream

5. Was There?

6. Material Real

  
Personnel

• Allan Holdsworth – guitar, production
• Paul Williams – vocals (track 2)
• Jack Bruce – vocals (tracks 5, 6)
• Chad Wackerman – drums
• Jeff Berlin – bass
• Joe Turano – background vocals
• Paul Korda – background vocals
• Ted Templeman – executive production
• Eddie Jobson – executive production (reissue)

Wilding-Bonus - 1978 [1993] "Pleasure Signals"

Wilding-Bonus was short lived jazz fusion project, founded by Danny Wilding (guitar) and Pete Bonus (flute). Other band's musicians all were well-known on progressive scene : Phil Collins (drums), John Goodsall (guitars, bass), Robin Lumley(keyboards) were Brand-X members, whenever  Bayeté (keyb.) played in Automatic Man, Michael Shrieve (dr.) - with Santana in Woodstock, percussionist Rebop Kwaku Baah was member of Traffic and Can both.

This fusion is one of those fantastic albums that exist here and there in the music industry. Danny Wilding (guitar) and Pete Bonus (flute) came out of nowhere, made this one LP, and then dissapeared again. There are some top class musicians here, each one with his contribution in developing the sound of this album.

Band recorded just one album in Island Studios, London in 1978, and then disappeared. Album was released on LP by Visa Records in USA ( picture-disc version existed as well), and for a first time re-released on CD in 1993 ( by Ozone Records, US). Very rare and almost forgotten release.

Track listing:

01. Race For Space (Danny Wilding, Pete Bonus) – 3:24
02. G. Storm (Danny Wilding) – 3:12
03. Oddysey (Danny Wilding, Pete Bonus) – 3:10
04. Earth Hymn (John Giblin) – 4:33
05. Rampage (John Giblin) – 4:41
06. Theme From Alma (Pete Bonus) – 4:28
07. Son Of Alma (Pete Bonus) – 4:34
08. Initiation Into The Nagual (Danny Wilding, Pete Bonus, John Goodsall) – 4:24
09. Ranchtown Tango (Danny Wilding, Pete Bonus) – 4:25

Personnel:

– Danny Wilding – flutes, producer
– Pete Bonus – guitar, bass, producer
– Phil Collins – drums (01,02,05)
– Phil Chen – bass (01)
– Kiki Gyane – keyboards (01)
– Rebop Kwaku Baah – congas (01)
– Ashton Tootle & Phil Todd – horns (01,05,06,08)
– John Goodsall – guitar (02,08), bass (03,06,09), acoustic guitar (04), producer
– John Giblin – bass (02,04,05,07), acoustic guitar (04), producer
– Bayeté – keyboards (03,06,08,09)
– Gregg Sheehan – drums (03,06,08,09)
– Preston Heyman – drums (04), percussion (05,06), Hi-Hat (07)
– Robin Lumley – keyboards (04)
– Andy Clarke – keyboards (04)
– Kate St. John – oboe (04)
– Mike Shrieve – drums (05)
– Chris Parren – keyboards (07)
– Morris Pert – congas (07)

Gregg Bissonette - 2000 "Submarine"

Gregg Bissonette is a journeyman rock and jazz drummer with a resumé that includes work done with Carlos Santana, David Lee Roth, Maynard Ferguson, and more. A diverse and hardworking talent, he telescopes those incredibly different styles and interests into this eclectic solo album. This is Bissonette working with ten world-renowned guitarists. Among the guests are Joe Satriani, Robben Ford, Steve Vai, and more. The tracks vary from jazz fusion to modern rock. Bissonette also contributes lead vocals, trumpet, and percussion outside the kit drums.

Submarine has cool tunes, in a variety of styles: From fusion to latin to beatlesque melodic rock - in a heavier King's X kind of way-. Great production and amazing playing from all the stellar guests (The A-list from the Guitar World). Greg Bissonette shows not only his renowned technique, but also great taste and finesse. Highly recommended for instrumental rock/fusion fans.

Gregg Bissonette is an excelent drummer. He makes some really interesting breaks and figures that I haven't heard from anyone else and the songs are very good. His brother Matt also knows how to set the groove and the guest guitarists are all top notch. Gregg is not a great singer but he does his best and, the good thing is that the song is almost instrumental except for three songs.
If you're into new drumming tecniques and more of the sort, you should check this one out, and, besides, there are some nice songs in here that not only showcase the musicianship (which is excelent) but also include some nice melodies.

Tracklist:

1. Marbles - (featuring Frank Gambale)
2. Submarine - (featuring Doug Bossi)
3. No Hay Parqueo - (featuring Gary Hoey/David Garfield)
4. Lum Lum - (featuring Joe Satriani)
5. Train to Willoughby - (featuring Steve Stevens)
6. Noah's Ark - (featuring Steve Vai)
7. Cloudy Day - (featuring Robben Ford)
8. Son Man, The - (featuring Tim Pierce)
9. Sasquatch - (featuring Mike Landau)
10. 12 to 3 - (featuring Matt Bissonette)
11. So Many Notes & So Little Time - (featuring Richie Kotzen)

Personnel:
Gregg Bissonette (vocals, trumpet, drums, percussion); Joe Satriani, Steve Vai, Frank Gambale, Doug Bossi, Gary Hoey, Steve Stevens, Robben Ford, Tim Pierce, Mike Landau, Richie Kotzen (guitar); Matt Bissonette (trombone, piano, acoustic, fretted & fretless electric basses, background vocals); David Garfield (piano, organ); Kathy Bissonette (background vocals).

Stanley Clarke - 1975 "Journey To Love"

Journey to Love is the third jazz funk fusion album by bass guitarist and multi-instrumentalist Stanley Clarke, accompanied by familiar musicians he has often worked with like George Duke and Chick Corea. Other legendary players on this record are John McLaughlin and Jeff Beck.

It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley's innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke's second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled "Hello Jeff." His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument.

Alongside School Days, this is perhaps Clarke's finest work. From beginning to end, it is simply a very joyful and magnetic listening experience. The infectious and sometimes beautiful grooves are just so impressively done. Clarke's playing is fantastic, managing to be hypnotic at certain moments, and frenetic at others without being headache-inducing, and overall, it's just a very well put together album that will definitely benefit from repeat listens. This is one of the best jazz fusion albums of all time. It's equally great in its slow spots as it is in its speedy spots, and Clarke and the other musicians who show up on it simply do stunning work.

Track listing

All tracks composed by Stanley Clarke; except where indicated

1. "Silly Putty" (4:52)
2. "Journey to Love" (4:52)
3. "Hello Jeff" (5:16)
4. "Song to John, Part 1" (Clarke, Corea) (4:22)
5. "Song to John, Part 2" (Clarke, Corea) (6:09)
6. "Concerto for Jazz/Rock Orchestra, Parts 1-4" (14:25)

Personnel

• Stanley Clarke - electric bass, acoustic bass, organ, piccolo bass (first used by Stanley Clarke) with Maestro Synthesizer on "Concerto For Jazz/Rock Orchestra," hand bells, tubular bells, gong, vocals
• Jeff Beck - electric guitar on "Hello Jeff" and guitar solo on "Journey to Love"
• Chick Corea - acoustic piano on "Song to John"
• George Duke - organ, synthesizer, Moog synthesizer, keyboard, Arp Odyssey, clavinet, acoustic piano, electric piano, bells, vocals
• Earl Chapin - brass horn
• John Clark - brass horn
• Jon Faddis - trumpet
• Steve Gadd - drums, percussions
• Peter Gordon - brass horn
• Tom "Bones" Malone - trombone
• John McLaughlin - acoustic guitar on "Song to John"
• Alan Rubin - trumpet
• David Sancious - electric guitar, 12-string guitar
• Lew Soloff - trumpet
• David Taylor - trombone
• Lenny White - drums on "Hello Jeff"
• Wilmer Wise - brass horn

Larry Coryell - 1974 Introducing The Eleventh House

Introducing the Eleventh House with Larry Coryell is The Eleventh House's debut album released 1974 for the Vanguard. According to All About Jazz it was one of the pioneer jazz-rock fusion albums

Larry Coryell stands on equal footing with John McLaughlin as one of the premier jazz fusion guitarist and this probably represents his finest achievement. Many people consider his earlier work with McLaughlin, 'Spaces' as writing the textbook for fusion style guitarwork, but to me, this is his greatest overall musical achievement. Comparisons to the original Mahavishnu Orchestra may seem to be inevitable considering the power and attack of the band's performance, but stylistically, the band plays much closer to the fusion/funk style of Herbie Hancock's Headhunters. Their is not as much of an eastern influence as the Mahavishnu Orchestra and there seems to be a wider variety of tempo and stylistic diversity on this recording. The synthesizer runs and Randy Brecker's trumpet keep pace rather well with Coryell's intensity and the compositional framework is elaborate and melodically sophisticated. But the highlight, of course, is the blitzkrieg of notes being pummelled out of Coryell's guitar mostly trading with synthesizer and trumpet, intermingled with more mid tempo improvisations; but the dynamics and interaction feature not just beautifully intricate work, but ingenious melodic and harmonic scales befitting musicians of the highest technical accomplishment. This is probably the most technically perfect fusion recording I have ever heard; a joyous and awesome performance! 

The Eleventh House during 1972-1975 was one of the stronger working groups in fusion, led by one of the unsung heroes of the idiom, guitarist Larry Coryell. This CD reissue brings back The Eleventh House's first recording and, in addition to Coryell's guitar, most heavily featured are trumpeter Randy Brecker (who would later be replaced by Mike Lawrence) and keyboardist Mike Mandel; bassist Danny Trifan and drummer Alphonse Mouzon are strong in backup roles. The influence of Miles Davis, Weather Report, and Herbie Hancock is apparent, but The Eleventh House also offered a sound of their own. Brecker's solos are often both fiery and lyrical (although his use of an occasional electric wah-wah device is less interesting). Coryell and Mandel blend together quite well, and the original grooves on this set often have distinctive personalities. Pity that the reissue does not have any liner notes, otherwise it is easily recommended to fans of early fusion. 

Tracks Listing

1. Birdfingers ( 3:07 )
2. The Funky Waltz ( 5:10 )
3. Low Lee Tah ( 4:17 )
4. Adam Smasher ( 4:30 )
5. Joy Ride ( 6:08 )
6. Yin ( 6:03 )
7. Theme For A Dream ( 3:26 )
8. Gratitude ( 3:21 )
9. Ism-ejercicio ( 3:59 )
10. Right On Yàll ( 4:21 )

Total Time : 44:47

Musicians

• Randy Brecker – horn, trumpet
• Larry Coryell – guitar
• Mike Mandel – piano, synthesizer
• Alphonse Mouzon – drums, percussion
• Danny Trifan – bass

Bill Connors - 1985 [1990] Step It

This session accented the funk/R&B and rock elements of Connors' arsenal; the eight selections were dominated both by drummer Dave Weckl's prominent backbeats and Connors' riffs and dashing licks, as well as catchy hooks, progressions, and patterns from bassist Tom Kennedy. Such songs as "A Pedal," "Brody," and the title cut weren't melodically sophisticated, but had a bass-heavy structure and quick, animated solos. Although the date is a bit old, its qualities prove a perfect fit on several new adult contemporary and lite-jazz outlets.

Another essential CD for Bill Connors (ex-Return To Forever) fans is "Step It!", which offers prime examples of fluid, legato guitar in a Coltrane-meets-Hendrix, fusion context. Not only is Connors a silky smooth lead player, but his rhythm work is particularly intricate and inspiring. Bassist Tom Kennedy and drummer Dave Weckl also stand out - Kennedy with his poly-rhythmic stylings and Weckl with his energy, feel and panache. Produced by guitarist Steve Khan (who guest solos on "Twinkle"), "Step It!" is a super companion disc to Double Up, and also a great introduction to the work of Connors for the uninitiated. Remarkable fusion from a pioneer who can still deliver excellence.

Tracks Listing

1. Lydia (3:35)
2. A Pedal (8:48)
3. Step It (4:33)
4. Cookies (4:46)
5. Brody (4:15)
6. Twinkle (5:58)
7. Titan (6:37)
8. Flickering Lights (5:07)

Total Time 78:12

Line-up / Musicians

 
- Bill Connors / guitar
- Dave Weckl / drums
- Tom Kennedy / bass
- Steve Khan / guitar (6)

The Coalition - 2004 Naked Movies

A few years back, I was in a band called The Coalition, which also featured Scott Healy, Michael Merritt and Shawn Pelton.  In 2004, we recorded and released a CD called Naked Movies (which is available right here on this website!) on Midlantic Records.  It was later re-released on Fractal Entertainment and I have no idea where it is now. 
This group was trying to blur the lines a bit and at times trying to emulate the collective, group improvisations of early jazz, but in a modern context.  Scott used only vintage keyboards and no synths, and everything was recorded live – with exception of “Drum Sandwich” – but with pre-production and mayhem/percussion tracks for the CD.
Bill Milkowski said: ”Call it avant groove, post-jam band, organic techno-jazz-fusion or call it whatchuwanna, the resulting sound is as unprecedented as it is provocative. In a world of vacuum-packed sampled sounds and clone bands galore, retro-this, neo-that and same ol’ same ol’, Naked Movies can truly be called fresh and original.”   Glenn Alexander.

Prurient implications of its title aside, Naked Movies hearkens back to the halcyon days of jazz-rock fusion minus the pretentious trappings and over-reliance on technique in place of feeling. The Coalition have chops to be sure, but instead of erecting structure within which to show off—either in the funk format or neo-classical archetypes—they prefer to play together and make music.

Proof positive exists in the opening track, "Tuna Whiskey, a piece of modified syncopation that rings and swings true before the band slips into the more atmospheric title song. Here the quartet's propensity to unify their attack by listening to each other is most advantageous. Each of the four tries to find ways to embellish the ideas just stated rather than create brand new ones in a parade of one-upsmanship.
As is the case here, the languorous mood that flows as an undercurrent through the entire CD is usually enhanced by keyboardist Scott Healy, often through his artful usage of old-school keyboards like the clavinet. It's left to guitarist Glenn Alexander to intensify the mood, either alone as on "The Loungy One, or by playing off Healy. "Beatnik Bob, in particular, features some of the most effective tradeoffs on the CD, which was recorded and produced by the band itself, and David Eyges.
Yet "33, recorded live, proves the impact both visceral and cerebral contained on Naked Movies is no digital trickery (notwithstanding drummer Shawn Pelton's credit for electronic voodoo): The Coalition is an electric group literally and figuratively, since they not only eschew acoustic instruments, but engage in instrumental interplay that virtually always crackles. Even at relatively low voltage, as on "Word from Ulster County, you can sense the pent-up energy at hand, even on what is almost a late-night blues.
The Coalition's diverse experience, ranging from keyboardist Healy's time doing movie music and bassist Mike Merritt's membership in Max Weinberg's group on Conan O'Brien, allows them to submerge their personalities in service of the music they make together. And there's a palpable sensation that the four enjoy the collaboration because few moments within the eight tracks here sound forced in the least, as if compositions arise naturally from The Coalition's collective musicianship.
The only falters of any sort are slight and, though appearing toward the end of the album, nevertheless find the band compensating in time. Alexander succumbs to trying to outplay himself on "c0ke, and the last cut, "Drum Sandwich, recalls the density and rhythmic sense of electric Miles a bit too much. But The Coalition recovers as drummer Pelton steps up the pace, the guitarist displays some restraint in response and, all of a sudden, you're hearing some charged interaction that makes as much use of space as sound (a positive influence of The Man with the Horn). The Coalition give a new definition to the word "fusion" on Naked Movies.

Track Listing:

1.Tuna Whiskey
2.Naked Movies
3.The Loungy One
4.-33-
5.Beatnik Bob
6.C0ke
7.Word From Ulster County
8.Drum Sandwich

Personnel:

Scott Healy (Fender Rhodes, Farfisa organ, clavinet, digital mayhem);
Glenn Alexander (guitars);
Shawn Pelton (drums and electronical voodoo);
Mike Merritt (electric bass)

John Scofield - 1978 [1988] Rough House

Rough House is a studio album by jazz musician John Scofield.

Another album, another band, another chance for the restless, itchy guitar player in his mid-twenties and who was seemingly always seeking renewed challenges to catalyze his youthful bursts of testosterone; because, and  as the title suggests, “Rough House” proposes no effortless solutions; fresh from a series of high-profile collaborations such as an extended stint with the George Duke/Billy Cobham band or a participation in a Charles Mingus project, here is Scofield with his, already at the time,  instantly recognizable, slightly distorted semi-acoustic guitar tone,  extraordinaire ability to improvise intelligent and thoughtful, yet brimming with excitement and passion ,lengthy and inventive solos and owner of an articulate and sharp phrasing that made each note sing.

The album consists of 5 Sco compositions and the vigorous and exuberant “Triple Play” (with its head stated in unison by guitar, piano and bass, hence the title, and which Sco channels into a  Rhythm & Blues inflected section where he can explore alternative instincts) written by seasoned pianist, and the band’s senior member Hal Galper, whose style bears strong McCoy Tyner references and who albeit showing a tendency to double-time tranquil solos that don’t seem to be his terrain of election, strongly contributes to the interactive dynamism of the 4tet which also counts with bass player Stafford James, and the 22 years old Adam Nussbaum, the group’s junior then at career start but owner of valuable arguments and who knew both how to trade bars with the band as on “Ailleron” and how to maintain exciting duet conversations with the leader at airplane speed as on “Air Pakistan”.

Putting his Funky instincts on hold - but not the biting edge-, Sco penned a post-bop motivated set, brisk and turbo-charged as on the title track or “Ailleron”, or flirting with more or less translucent, delicate and introspective leanings as on “Alster Fields” and “Slow Elvin”, ambiances he caresses, nurtures and excites with tasty bends, fragile trills, inspired flourishes and snappy meaningful licks.

Flawless, entertaining, classy, vigorous  and finger-snapping this  seems to be a rather obscure album in Scofield’s discography as I’ve just noticed when opening his RYM page; yet it’s worth every penny you’ll pay for it either you’re a fan of his peculiar style or just a lover of  guitar lead serious and juicy music.

Track listing

1. "Rough House"
2. "Alster Fields"
3. "Ailleron"
4. "Slow Elvin"
5. "Triple Play"
6. "Air Pakistan"

Personnel

• John Scofield - guitar
• Hal Galper - piano
• Stafford James - bass
• Adam Nussbaum - drums

Soft Machine - 1981 [1996] Land Of Cockayne

Land of Cockayne is the final album by the band Soft Machine, released in 1981. By this point, the band contained none of its original members. The title refers to the medieval land of plenty.
The album came about as the result of a project in which Karl Jenkins and John Marshall had been involved featuring top session musicians. The ad hoc band, Rollercoaster, had recently recorded the Stevie Wonder tribute album Wonderin' and decided to record another album together. Many of the musicians included on the Cockayne album would make up Soft Machine's final live line-up which played a six-night residency at Ronnie Scott's in 1984. This is the only Soft Machine album to feature a string section.

Tracks Listing

1. Over 'n' above (7:24)
2. Lotus groves (4:57)
3. Isle of the blessed (1:56)
4. Panoramania (7:07)
5. Behind the crystal curtain (0:53)
6. Palace of glass (3:22)
7. Hot-biscuit Slim (7:27)
8. (Black) velvet mountain (5:10)
9. Sly monkey (5:00)
10. A lot of what you fancy... (0:35)

Total Time: 43:51

Personnel

• Karl Jenkins – keyboards, synths, orchestration
• John Marshall – drums, percussion
• Jack Bruce – bass
• Allan Holdsworth – lead guitar
• John Taylor – electric piano
• Ray Warleigh – alto saxophone, bass flute
• Dick Morrissey – tenor saxophone
• Alan Parker – rhythm guitar
• Stu Calver – vocals, backing vocals
• John G. Perry – vocals, backing vocals
• Tony Rivers – vocals, backing vocals

Bill Bruford - 1977 "Feels Good To Me"

Feels Good to Me is the debut solo album by the British drummer Bill Bruford. The band Bruford grew out of the line-up assembled for this album. Led by drummer Bill Bruford, the album also features guitarist Allan Holdsworth and John Goodsall, bassist Jeff Berlin, keyboardist Dave Stewart, and ECM flügelhorn stalwart Kenny Wheeler. He also enlisted singer and songwriter Annette Peacock. Musically, the album does not sound like the early Canterbury sound but is more reminiscent of contemporaries Brand X, with whom they shared guitarist John Goodsall. The album, released in August 1978, is also considered a "vanguard of progressive jazz improvised music"

With a career that was first defined by his metrically-challenging work and instantly recognizable drum sound with progressive rock groups Yes and King Crimson, nothing could have prepared anyone for the surprise of drummer Bill Bruford's first solo release, Feels Good to Me. While Bruford's signature style—a mathematically-precise approach that never failed to find the innate groove in even the most complex of time signatures—was in clear evidence, the album didn't sound like a drummer's solo album. The emphasis was on composition, and while others in the group — including Hatfield and the North and National Health keyboardist Dave Stewart, on-the- ascendance guitarist Allan Holdsworth and the then-unknown electric bassist Jeff Berlin. Bruford made it clear from the get-go that his role as bandleader was to be that of an equal contributor rather than a dominant voice. And while these late-'70s releases—Feels Good to Me, One of a Kind, Gradually Going Tornado and The Bruford Tapes — clearly emerged from a progressive rock sensibility, they also demonstrated a harmonic depth that echoed Bruford's longstanding interest in jazz albeit, in the case of these recordings, more of the fusion kind.

 Track listing

• All Songs Published By E.G. Music Ltd., except where noted.

1. "Beelzebub" (Bruford) 3:22
2. "Back to the Beginning" (Bruford) 7:25
3. "Seems Like a Lifetime Ago (Part One)" (Bruford) 2:31
4. "Seems Like a Lifetime Ago (Part Two)" (Bruford) 4:29
5. "Sample and Hold" (Bruford, Stewart) 5:12 (E.G. Music, Ltd. & Virgin Music)
6. "Feels Good to Me" (Bruford) 3:53
7. "Either End of August" (Bruford) 5:24
8. "If You Can't Stand the Heat..." (Bruford, Stewart) 3:26 (E.G. Music, Ltd. & Virgin Music)
9. "Springtime in Siberia" (Bruford, Stewart) 2:44 (E.G. Music, Ltd. & Virgin Music)
10. "Adios a la Pasada (Goodbye To The Past)" (Bruford, Annette Peacock) 8:41

 Personnel

• Bill Bruford – percussion, drums
• Allan Holdsworth – electric guitar
• Dave Stewart – keyboards, synthesizers
• Jeff Berlin – bass

with

• Kenny Wheeler: Flugelhorn
• Annette Peacock: Vocals (2, 3, 10)
• John Goodsall: Additional guitar (6)
• Neil Murray: Additional bass

Atomic Roooster - 1970 "Atomic Roooster"

The incipient incarnation of Atomic Rooster -- with Vincent Crane (organ/vocals), Nick Graham (vocals/bass), and Carl Palmer (drums) -- was together just long enough to document its debut, Atomic Roooster (1970) -- (note: the extra O is intentional). Prior to the last-minute addition of Graham -- the only bassist Atomic Rooster ever had -- the band emerged from the remnants of the then recently defunct Crazy World of Arthur Brown. The material was primarily courtesy of Crane and consisted of heavier sides. His versatility is evident throughout the impressive array of styles ranging from the folk-inspired pastoral "Winter" to the bluesy horn arrangement heard on "Broken Wings." This directly contrasts driving rockers such as the album's edgy opener, "Friday 13th," or the aggressive "S.L.Y." "Decline and Fall" is a jazz-infused number boasting some exceptional if not incendiary instrumental interaction, most notably from Crane and Palmer. Lyrically, Crane reveals his penchant for dark imagery, including the fatalistic "What is the point of going on?" chorus that runs through the aforementioned "Winter" or the sexually snide "And So to Bed." Support was bolstered by strong live appearances, positive word-of-mouth, and a few significant BBC Radio sessions -- all of which resulted in Atomic Roooster making a respectable showing at number 49 on the U.K. LP charts. By the time the platter was picked up by Elektra Records in North America, the personnel had already changed with John Cann (guitar/vocals) replacing Graham. In an interesting move, they decided that Cann should also overdub guitar parts to "S.L.Y." and "Before Tomorrow," as well as provide a new vocal to "Friday 13th." The transformation didn't end there, either, as the original running order was also significantly altered. Parties interested in hearing both should locate the 2004 reissue, as the supplementary selections feature the U.S. version(s), plus a pair of uniformly excellent selections broadcast on BBC Radio -- "Friday 13th" and "Seven Lonely Streets" (aka "Seven Streets") from Atomic Rooster's follow-up LP, Death Walks Behind You (1970). Of further historical note is that the live-in-the-studio BBC recordings were documented less than a week before the departure of Palmer, effectively ending the first lineup.

Tracks Listing
 

1. Friday The Thirteenth (3:33)
2. And So To Bed (4:13)
3. Broken Wings (5:48)
4. Before Tomorrow (instrumental) (5:53)
5. Banstead (3:36)
6. S.L.Y. (4:39)
7. Winter (7:01)
8. Decline And Fall (5:50)
Bonus track on CD:
9. Play The Game (4:48)

Line-up / Musicians
- Vincent Crane / Hammond organ, piano, vocals
- Nick Graham / lead vocals, bass, acoustic guitar, flute
- Carl Palmer / drums, percussion

Kevin Eubanks - 1983 "Guitarist"

Kevin Tyrone Eubanks (born November 15, 1957 in Philadelphia) is an American jazz and fusion guitarist and composer who was the leader of the Tonight Show Band with host Jay Leno from 1995 to 2010. He also led the Primetime Band on the short-lived The Jay Leno Show.

This album, issued in the wake of the stir caused by the Young Lions compilation album on Elektra Musician, is a first-rate mix of originals and standards beautifully executed by a group of studio players who include brothers Robin Eubanks on trombone, Charles on acoustic piano, and David on bass along with tenor saxophonist Ralph Moore and drummer Ronnie Burrage. Eubanks' choice of covers is brave; from Thelonious Monk's "Evidence" and Miles Davis' "Blue in Green" to Wes Montgomery's "The Thumb" and Jerome Kern's "Yesterdays," he offers not only chops, but a keen ear for nuance and subtlety. The treatment of Monk's "Evidence" is particularly satisfying for retaining the pianist/composer's angles without sacrificing the swing quotient. Likewise, his solo reading of "The Thumb" is played with great taste, offering no show-off pyrotechnics, yet he interprets the tune for the present day. Eubanks' own tunes, such as "Inner-Vision" with Moore, Burrage, and David, are shaped and informed by not only jazz but soul and blues without falling into crossover cliché. This is a fine first effort. [After being out of print for a decade on CD, Guitarist was reissued by Wounded Bird in 2004.] 

Tracklist

01 - The Novice Bounce [03:58]
02 - Inner-Vision [04:30]
03 - Yesterdays [06:29]
04 - Evidence [06:05]
05 - Urban Heat [08:05]
06 - The Thumb/Blues For Wes [04:18]
07 - Untitled Shapes [07:42]
08 - Blue In Green [03:15]

Personnel :

Bass [Acoustic] - David Eubanks
Drums - Ronnie Burrage, Roy Haynes, Tommy Campbell
Guitar [Acoustic, Electric] - Kevin Eubanks
Producer - Michael Gibbs
Saxophone [Tenor] - Ralph Moore
Trombone - Robin Eubanks

Billy Cobham - 1974 [2007] "Shabazz" [24bit Remastered]

Shabazz captures Cobham's Total Eclipse band in a live setting, and contains two originals, "Shabazz" and "Tenth Pin." The other two songs, "Taurian Matador" and "Red Baron," which debuted on Cobham's classic recording, Spectrum, are given an impressive update. All of the songs are blowing sessions allowing each musician ample time to develop their ideas. Cobham attacks his drums with a vengeance on the introduction to "Shabazz" and on his powerful solo for "Tenth Pin." This is a good, old-fashioned blowing session that captures one of Cobham's best bands at their peak.

Recorded in July 74 at the Rainbow in London and at the Montreux Music Festival (A2), with practically the same line-up of that year Total Eclipse, this album comprises two revised versions from BC best selling “Spectrum” and two long tracks apparently written for this band and this tour since they only appear in this album;
Randy Brecker wah-wah treated trumpet and Milcho Leviev moog excursions shine on the title track, a powerful theme that begins after a thundering Cobham introduction, but whose long jam feels hesitant sometimes;
The revised versions of “Taurian Matador” – Michael Brecker delivers a blistering sax solo and Milcho Leviev Rhodes is in true George Duke funky fashion – and “Red Baron”- here shine Glenn Ferris trombone and Abercrombie guitar- are exactly what one would expect from such an illustrious batch of musicians, relentless fiery Funky Fusion.
Tenth Pinn has a furious BC drum opening and a grandiose hi-speed theme and then over an unstoppable but at times restrained in the sound level BC, has Ferris trombone and again an electronically treated trumpet giving cards before the theme shortly resumes before BC takes centre stage for a drum solo with highs and lows that finishes the record;
Suffering from an only average recording quality and some lack of confidence (or rehearsing) on the new themes, this is nevertheless a very pleasant listening.

Tracks Listing 
 

1. Shabazz (13:49)
2. Taurian Matador (Revised) (5:27)
3. Red Baron (6:38)
4. Tenth Pinn (13:58)

Total Time: 40:23

Line-up / Musicians
 

- Billy Cobham / Drums, Percussion
- Alex Blake / Bass
- John Abercrombie / Guitar
- Milcho Leviev / Keyboards
- Michael Brecker / Saxophone
- Randy Brecker / Trumpet
- Glen Ferris / Trombone

Tony Williams - 1979 [1997] "The Joy Of Flying"

The Joy Of Flying is a Jazz fusion album by Tony Williams. Although it was recorded at the end of the The Tony Williams Lifetime years, it is considered a solo album. It includes three duets, two with Jan Hammer and one with Cecil Taylor, and three different quartets. The first quartet features Jan Hammer again along with George Benson and Paul Jackson on two songs. The second quartet has veterans Herbie Hancock, Stanley Clarke and Tom Scott also for two songs.
The third quartet presents the "Tony Williams All Stars" for one song, "Open Fire". In July 1978, Tony welcomed rock guitarist Ronnie Montrose, who had recently finished touring to promote his jazz fusion influenced Open Fire album. The group was rounded out with Brian Auger and Mario Cipollina as they toured Japan. The concert at Japan's Denen Coliseum was recorded and other songs on the set list included "Rocky Road" and "Heads Up" from Open Fire, "Red Alert" and "Wildlife" from Believe It, "There Comes a Time" from Ego, "Dragon Song" from Brian Auger's Oblivion Express and "Capricorn" with special guest Billy Cobham.

It would be an understatement to say that there was a fair amount of variety on this set. Drummer Tony Williams is heard in two duets with keyboardist Jan Hammer, with a quartet also including keyboardist Herbie Hancock, Tom Scott (who unfortunately sticks to lyricon) and bassist Stanley Clarke, and he welcomes rock guitarist Ronnie Montrose, keyboardist Brian Auger, guitarist George Benson, Hammer and tenorman Michael Brecker on other tracks. Much of this music is closer to R&B than to jazz, although there are many strong moments. But the most interesting selection is certainly "Morgan's Motion" which matches Williams with pianist Cecil Taylor in a powerful (and completely atonal) collaboration. 

Track listing and Personnel

1. "Going Far" (Jan Hammer) - 4:13 Keyboards, Synthesizers - Jan Hammer
2. "Hip Skip" (George Benson) - 8:03 Guitar - George Benson, Keyboards, Synthesizers - Hammer, Electric bass - Paul Jackson, Saxophone - Michael Brecker, Percussion - Ralph MacDonald
3. "Hittin' on 6" (Tom Scott) - 6:16 Lyricon - Tom Scott, Keyboards, Synthesizers - Herbie Hancock, Electric bass - Stanley Clarke
4. "Open Fire" (Ronnie Montrose, Edgar Winter) - 6:18 Electric guitar - Ronnie Montrose, Keyboards, Synthesizers - Brian Auger, Electric bass - Mario Cipollina
5. "Tony" (Stanley Clarke) - 6:50 Lyricon - Scott, Keyboards, Synthesizers - Hancock, Electric bass - Clarke
6. "Eris" (Hammer) - 3:33 Keyboards, Synthesizers - Hammer
7. "Coming Back Home" (Hammer) - 6:06 Guitar - Benson, Keyboards, Synthesizers - Hammer, Electric bass - Jackson
8. "Morgan's Motion" (Cecil Taylor) - 8:18 Concert grand piano - Cecil Taylor

• Drums on all tracks - Tony Williams

Additional horns on "Hip Skip"

• David Sanborn - Alto saxophone
• Ronnie Cuber - Baritone saxophone
• Barry Rogers - Trombone
• Randy Brecker - Trumpet
• Jon Faddis - Trumpet

Steve Hackett - 1999 "The Tokyo Tapes"

The Tokyo Tapes is ex-Genesis guitarist Steve Hackett's live album featuring a progressive rock supergroup line-up of John Wetton (from King Crimson, UK, Asia), Chester Thompson (from Weather Report, Frank Zappa, Genesis live), Ian McDonald (from King Crimson, Foreigner) and rounded out by keyboardist Julian Colbeck (worked with Yes spin-off Anderson Bruford Wakeman Howe). The album was compiled from two concerts at Koseinenkin Hall in Tokyo, Japan on 16 & 17 December 1996. The album also contains two Steve Hackett studio tracks.
In 2001, a live DVD also called The Tokyo Tapes and culled from the same two performances was released. It contained all 17 live tracks plus 18 minutes of bonus rehearsal footage and band biographies.
Both the CD and the DVD were promoted with the tagline: "What would it sound like if occasional members of GENESIS, KING CRIMSON, ASIA, YES, ZAPPA & WEATHER REPORT all got together to form a unique team just for one night?"

Soon after completing work on Watcher of the Skies, Steve Hackett conceived of a series of concerts involving many of the musicians from the Genesis project, to be recorded for a special live release. This two-disc set from a December 1996 performance in Tokyo is the end result. The band personnel look like potential candidates for a Prog Rockers: Where Are They Now? TV special, with Hackett joined by John Wetton (formerly of Asia), Ian McDonald (King Crimson), and Chester Thompson and Julian Colbeck (touring alum of Genesis and Yes, respectively). The set list includes many Genesis songs, as well as several taken from Hackett's solo archive. Most of the songs differ considerably from their studio versions, either through vastly altered arrangements or extended instrumental sections. Wetton does a fine job on lead vocals, the one exception being his solo acoustic reworking of the Asia mega-hit "Heat of the Moment"; the new version with updated lyrics sounds embarrassingly frail. This is a minor misstep, however. Tokyo Tapes is easily the definitive Steve Hackett live collection available to date, and it's a welcome addition to any fan's collection. 

Track listing

Original artists for live songs are listed in brackets. Disc 1

1. "Watcher of the Skies" (Banks, Rutherford, Hackett, Gabriel, Collins) – 8:59 [Genesis]
2. "Riding the Colossus" (Hackett) – 3:32 [Solo Steve Hackett]
3. "Firth of Fifth" (Banks, Collins, Hackett, Rutherford, Gabriel) – 9:32 [Genesis]
4. "Battlelines" (Wetton, Marlette, Mitchell) – 6:43 [Solo John Wetton]
5. "Camino Royale" (Hackett, Magnus) – 9:06 [Solo Steve Hackett]
6. "The Court of the Crimson King" (McDonald, Sinfield) – 7:39 [King Crimson]
7. "Horizons" (Hackett) – 1:53 [Genesis/Solo Steve Hackett]
8. "Walking Away from Rainbows" (Hackett) – 3:47 [Solo Steve Hackett]
9. "Heat of the Moment" (Wetton, Downes) – 4:06 [Asia]

Disc 2

1. "...In That Quiet Earth'" (Hackett, Rutherford, Banks, Collins) – 4:02 [Genesis]
2. "Vampyre With a Healthy Appetite" (Hackett) – 7:23 [Solo Steve Hackett]
3. "I Talk to the Wind" (McDonald, Sinfield) – 5:37 [King Crimson]
4. "Shadow of the Hierophant" (Hackett, Rutherford) – 7:14 [Solo Steve Hacket]
5. "Los Endos" (Banks, Collins, Rutherford, Hackett) – 6:54 [Genesis]
6. "Black Light" (Hackett) – 2:30 [Solo Steve Hackett]
7. "The Steppes" (Hackett) – 6:48 [Solo Steve Hackett]
8. "I Know What I Like" (Hackett, Banks, Rutherford, Collins, Gabriel) – 5:51 [Genesis]
9. "Firewall" (Hackett) [Studio Track] – 4:41
10. "The Dealer" (Hackett) [Studio track] – 4:23
11. "Los Endos" (Hackett) ['Revisited' Studio Version] 8:52

Credits (live tracks)

• Steve Hackett – guitar, harmonica, vocals
• John Wetton – bass, guitar, vocals
• Chester Thompson – drums
• Ian McDonald – flute, saxophone, guitar, keyboards, vocals
• Julian Colbeck – keyboards, vocals

Credits (studio tracks)

• Steve Hackett – guitar, percussion
• Aron Friedman – keyboards, programming

Santana, Jeff Beck, Steve Lukather - 1987 [1992] "Lotus Gem"

In 1986 Steve Lukather played as a guest guitarist at the Lotus Gem concert with the Santana Band and the Jeff Beck Band (with Simon Phillips on drums). Another boost for Lukather, to play together with
one of his 'masters' (next to for example Jimi Hendrix, Jimmy Page, Larry Carlton, Jay Graydon, Eric Clapton and David Gilmour).
You can hear clearly that Santana was easily played away by Lukather. The competition between Lukather and Jeff Beck was more complicated. In a speed boogie like Freeway jam or Super boogie there's the pointed, sharp sound of Jeff Beck and the more sliding sound of Lukather. It's obvious that Beck doesn't matter to give in his stability in search for creative and unexpected peaks. Lukather on the other hand plays like the talented, skilled professional, the craftsman with his own style and a big sound. The choice is yours.

Track listing:

CD 1
01 - Into/Primaera Invasion (Santana)
02 - Black Magic Woman (Santana)
03 - Open Invitation (Santana, Lukather)
04 - Starcycle (Beck)
05 - Cause It Ended For Lovers (Beck)
06 - Wild Thing (Beck)
07 - Freeway jam (Beck, Lukather)
08 - Going Down (Beck, Lukather)
09 - Escape (Beck, Lukather)

CD 2
01 - Super Boogie (Santana, Beck, Lukather)
02 - Lotus Blues (Santana, Beck, Lukather)
03 - People Get Ready (Santana, Beck, Lukather)
04 - Johnny B. Goode (Santana, Beck, Lukather)
05 - Goodbye porkpie Hat (Beck)
06 - Love will (Beck)
07 - Ambitious (Santana, Beck)
08 - Stop look and listen (Santana, Beck)
09 - Blue wind (Santana, Beck)

Personnel:

Steve Lukather - Guitars
Carlos Santana - Guitars
Jeff Beck - Guitars

Beck's band:
Jan Hammer - Keyboards
Simon Phillips - Drums
Jimmy Hall Vocals & Sax
Doug Wimbish - Bass

Santana's band:
George Miles - Vocals
Chester Thompson - Keyboards
Armando Peraza - Congas
Orestes Vilato - Timbales
Tom Coster - Keyboards
Graham Lear - Drums
Paul Rekow – Percussion


June 1 Sun,1986: Suntory Beer Sound Market '86. Karuizawa Prince Hotel, Karuizawa, Japan

King Crimson - 2001 [2006] "Level Five"

Level Five is a live extended play recording by the English progressive rock band King Crimson. It was recorded in the United States and Mexico in 2001 and released later that year, on 9 November, by the independent record label Discipline Global Mobile. Tracks 1-3 and 5 were later re-recorded for the King Crimson album The Power to Believe. Track 4 is an alternate version of the song from The ConstruKction of Light album.

Track listing

1. "Dangerous Curves" (Adrian Belew, Robert Fripp, Trey Gunn, Pat Mastelotto) 5:38
2. "Level Five" (Belew, Fripp, Gunn, Mastelotto) 8:35
3. "Virtuous Circle" (Belew, Fripp, Gunn, Mastelotto) 10:00
4. "The ConstruKction of Light" (Belew, Fripp, Gunn, Mastelotto) 8:23
5. "The Deception of the Thrush" (Belew, Fripp, Gunn) 13:07
Including:
"ProjeKct 12th and X" (hidden track) (Belew, Fripp, Gunn, Mastelotto)

Personnel:

Robert Fripp - guitar
Adrian Belew - guitar, vocals
Trey Gunn - Warr guitar
Pat Mastelotto - drums

John Abercrombie - 1975 "Timeless"

Guitarist John Abercrombie's first in a long line of recordings for ECM was also his debut as a leader. Teamed up with Jan Hammer (who here plays organ, synthesizer, and piano) and drummer Jack DeJohnette, Abercrombie plays four of his originals, plus two by Hammer. These performances differ from many of the guitarist's later ECM dates in that Hammer injects a strong dose of fusion into the music, and there is plenty of spirited interplay between those two with fine support by DeJohnette. Thought-provoking and occasionally exciting music that generally defies categorization.

The Allmusic review by Scott Yanow awarded the album 4½ stars calling it "Thought-provoking and occasionally exciting music that generally defies categorization". The Penguin Guide to Jazz awarded the album 4 stars noting "There's more filigree than flash on the early Timeless and it's left to DeJohnette and the underrated Hammer to give the set the propulsion it calls for... this is a session that has grown in stature with familiarity, an altogether tougher and more resilient label debut than anyone remembers". The Rolling Stone Jazz Record Guide said "Hammer especially plays with astounding fire and grace on this session, some of the finest organ playing he's recorded"

On Timeless, guitarist John Abercrombie spearheads a session with keyboardist Jan Hammer and drummer Jack DeJohnette for a melding of minds in the first degree.

Guitarist John Abercrombie has often been associated with organists, from his formative years in the 1960s with the deep funk of Johnny "Hammond" Smith to the subtle orchestral underpinnings that Dan Wall provides for Abercrombie's 1990s-era bands. This 1974 recording was Abercrombie's first as a leader, and he's joined by Jan Hammer on organ, piano, and synthesizer and Jack DeJohnette on drums. The high-speed exchanges on Hammer's extended "Lungs" immediately invoke John McLaughlin's Mahavishnu Orchestra, while his "Red and Orange" recalls Tony Williams's Lifetime band. But Abercrombie makes his own voice apparent even in the fusion idiom, with angular solos that find their own paths through the electric storms. His compositions take varied approaches, invoking the more traditional organ trio on "Ralph's Piano Waltz" and emphasizing melody and space on the title tune. The guitarist also engages Hammer's piano on two reflective duets, "Love Song" and "Remembering," that emphasize his roots in the lyrical style of Jim Hall.

The trio kicks things off in high gear with “Lungs,” a heaping pile of kindling set ablaze by Hammer’s high-octane staccato, DeJohnette’s explosive hi-hat, and Abercrombie’s unusually frenetic fretwork. A sublime energy is maintained throughout and the payoff is supremely satisfying—all the more so for its brevity, as the music suddenly changes avenues just a few minutes in. Hammer relays between organ and synth, keeping the pace (and the funk) through trailing guitar solos that send notes like cosmic fingers flicking galaxies into outer space. The organ smolders quietly in the background before clinching a new groove, which Abercrombie laces with lines flanged just right for the mix. It all ends in a game of musical jump rope, with Abercrombie skipping over the alternation of drums and organ. “Love Song” is true to its name and is the first of two exquisite conversations between piano and acoustic guitar. Just as the organ trailed long rows in the soil of our attention, the piano comes as a welcome rain for our crop and the guitar like the sun that infuses it. This brings us to “Ralph’s Piano Waltz,” a highlight of these six fine offerings. Like the album as a whole, this track is a superlative balancing act. It’s a construct so seamless that if you don’t find your foot tapping during this one, you might want to make sure it’s still attached. The electric leads speak in their respective languages, but also mimic each other along the way. “Red And Orange” is what might result if Bach had survived into the 1970s as a closeted jazz musician, and is another standout in a set of many. “Remembering” is an alluring chain of tableux and the second of the two duets. Abercrombie sustains details the piano seems content to ignore, loosening those threads from their weave. We end with the title track, which builds slowly from a synth drone peppered with guitar musings to a full-on embrace of space.

This evergreen stands tall in the ECM forest. There is no sense of competition, only mutual reveling in a distinctly nuclear sound. One could easily call it fusion, but if anything it is fused with itself, for it has created every element it seeks to combine. Timeless indeed.

Track listing

1. "Lungs" – 12:10 (Hammer)
2. "Love Song" – 4:35 (Abercrombie)
3. "Ralph's Piano Waltz" – 4:55 (Abercrombie)
4. "Red and Orange" – 5:24 (Hammer)
5. "Remembering" – 4:33 (Abercrombie)
6. "Timeless" – 11:57 (Abercrombie)

Personnel

• John Abercrombie - Guitar
• Jack DeJohnette - Drums
• Jan Hammer - Organ, piano, synthesizer

John Mclaughlin - 1971 [1993] "Where Fortune Smiles"

Where Fortune Smiles is a jazz fusion LP credited to John McLaughlin, John Surman, Dave Holland, Karl Berger, and Stu Martin on Dawn Records DNLS ASD 3018, which was recorded in 1970 and released in 1971 in a stereo format.

The truth be told, Where Fortune Smiles was not originally released under the leadership of John McLaughlin. Its reissue on CD with McLaughlin as leader seems to exist for marketing purposes only. The reissue notes indicate a 1971 recording date, but my memories of its original release on PYE Records suggest that it was recorded a year earlier. (However, memories can fade.) The other members of the quintet—bassist Dave Holland, saxophonist John Surman (also on Extrapolation ), vibraphonist Karl Berger, and drummer Stu Martin—each contribute equally to this outing.

The compositions, all by McLaughlin and Surman, have strong head arrangements that are not directly quoted in the free improvisations that follow. Fortune does not even hint at rock or fusion. Do not expect any of the usual clear themes, call and response playing, or unison lines. These differences, which may confound many McLaughlin fans, are also its greatest strengths.

Free jazz is what this release is all about. For listeners who don't normally immerse themselves in this sort of thing, it's a record that can be enjoyed only about once a year. But it remains a must-listen. Whoa! Listen...is that a quote which will later turn into "One Word" from Birds Of Fire ? Listen to McLaughlin's far-out guitar. Listen to Holland's resonating bass. Listen to Surman as he reveals things to come. Listen for a historical perspective on music which McLaughlin would later deliver.

Jazz critic Scott Yanow wrote: “McLaughlin's raw sound was starting to take shape by this time and his impeccable chops are on full display. So too are those of the underrated vibraphonist Karl Berger and, of course, soprano saxophonist Surman. The foundation is held loosely in place by bassist Dave Holland and drummer Stu Martin. It's a challenging but interesting listen, especially given McLaughlin's later success and popularity.

Track listing

1. "Glancing Backwards (for Junior)" – 8:54 - Surman
2. "Earth Bound Hearts" – 4:15 - McLaughlin
3. "Where Fortune Smiles" – 4:01 - Surman
4. "New Place, Old Place" – 10:24 - McLaughlin
5. "Hope" – 7:19 - McLaughlin

Personnel

• John McLaughlin - guitars
• John Surman – soprano saxophone, baritone saxophone, bass clarinet
• Dave Holland - upright bass
• Karl Berger – vibraphone
• Stu Martin – drums

Larry Coryell-Alphonse Mouzon - 1977 [2013] "Back Together Again"

After going their separate ways upon the breakup of the Eleventh House, guitarist Larry Coryell, and drummer Alphonse Mouzon teamed up again for what turned out to be a disappointing reunion. This despite the added presence of guitarist Philip Catherine. The same high energy fusion that made each player so popular is on display here, but so is Mouzon's infatuation with disco. "Beneath the Earth," "Transvested Express," and "High Love" contain some impressive playing. Truly an incendiary slice of mid 70's fusion, Mouzon and Coryell both at the very top of their game. These sessions were rounded out by Phil Catherine on 2nd guitar and John Lee on bass, both fusion players of the first order. Couple of simple vocals near the end of this disc but this album is all about the PLAYING !

Tracks Listing

1. Beneath The Earth (3:03)
2. Phonse, The (3:48)
3. Transvested Express (3:51)
4. Crystallization (3:19)
5. Rock 'N' Roll Lovers (4:04)
6. Get On Up (We're Gonna Boogie) (2:50)
7. Reconciliation (2:34)
8. Back Together Again (3:05)
9. Mr. C (3:28)
10. High Love (5:51)

Total Time 35:53

Line-up / Musicians

- Larry Coryell / electric & acoustic guitars
- Philip Catherine / electric & acoustic guitars
- Alphonse Mouzon / drums, vocals
- John Lee / bass, vocals
- Cheryl P. Alexander / back-up vocals
- Tawatha Agee / back-up vocals

Vital Information - 1988 "Fiafiaga" (Celebration)

Steve Smith played drums with Rock legends, "Journey" and this was one of his first albums with his new Jazz group. The music on this showcases the fine talent of Smith's drum playing. The tracks "Maltese Connection" and "50/50" are the highlights of the recording. The CD has been out of print for a while so finding it will be a challenge. Recommended!!

I have been looking for this record since i left college. I'm glade that amazon could find it its out of print and they got it, this is one of the best Vital records ever. 

 Tracklist:

1. Please Don`t Feel Bad ( 5:28 )
2. Chant ( 6:23 )
3. Maltese Connection ( 5:34 )
4. Celebration ( Fiafiaga ) ( 7:00 )
5. Babaluwaiye ( The Creator ) ( 00:45 )
6. Sunday Afternoon - Steve Smith & Vital Information ( 5:04 )
7. Perfect date ( 5:35 )
8. Whenever You`re ready ( 7:28 )
9. 50/ 50 ( 4 :49 )

Total Time : 48:06

Line-up / Musicians

Steve Smith / drums , keyboards
Dave Wilczewski / alto, tenor & soprano saxes, piano
Tom Coster / keyboards, piano
Frank Gambale / electric & acoustic guitar
Kia Eckardt- Karpeh / bass
Jay Oliver / keyboards
Kit Walker / keyboards
Prince Joni Haastrup / vocals
Torsten De Winkel / guitar
Barry Finnerty / guitar
Andy Narell / steel drums
Corrado Rusticci / electric & acoustic guitar
Lenny Castro / percussion
Vladmir Johnson / vocals
Tim Landers / bass