Iceberg - Arc-en-ciel

Here’s another unjustly overlooked band that never received the wider attention it deserved, a victim of geographic isolation (despite their English name, the group hailed from northeast Spain), or maybe the fierce competition between likeminded musicians for a loyal but dwindling fan base in the late 1970s.
ICEBERG played instrumental Fusion in the spirit of early MAHAVISHNU ORCHESTRA, but Jazz Rock is too mild a term for the type of music on tap here. This is Fusion more akin to Edward Teller’s Cold War fantasies: a Latin-flavored thermonuclear warhead able to detonate a musical fireball bigger than the one that vaporized Bikini Atoll in 1946. All right, so that’s a tacky analogy, but you get the point: these guys had serious chops.

The quartet was led by guitarist Max Suñé, playing with a passion and skill equal to any guitar hero of his time. He could solo with the pinpoint precision and white-lightning speed of Al DiMeola (always the yardstick used to measure any Fusion axe-man in the 1970s), but favored a raw, emotional guitar tone more reminiscent of “Birds of Fire” era John McLaughlin. Match this with the virtuoso mini-moog runs of Josep Mas and the results could turn even the most unlikely time signature into a thrilling, and often surprisingly graceful, adventure.

Listen to the guitar and keyboards trading solo spots during “El Caminant Nocturn”, a song almost guaranteed to blow your socks off and dry-clean them in mid-flight. Or the 11-minute “Càntics de la Carn”, another album highlight, beginning with a furious percussion workout under which Primitivo Sanchez (the name makes him sound like a Catalan punk rocker) lays down a speedy flamenco bass line for Suñé and Mas to race across in perfect stop/start unison.

The homegrown Spanish influence surfaces even more strongly on the remaining tracks, adding the warmer textures of acoustic guitar and piano but sounding no less dynamic than the earlier all-electric salvos. My only complaint is with the unresolved fade-out at the tail of the curtain closer “Crisàlide” (and in the middle of another monster Suñé solo too!). But in retrospect it’s probably fitting that the band’s last studio album should end this way, giving the impression that they never really stopped playing…that maybe someday, on another album, they might simply flip a switch and continue the same track right where it left off here.

At one time I owned several ICEBERG albums (and at least one Max Suñé solo effort), back in the days when even the coolest, most obscure European imports were available Stateside in any decent LP emporium. A lifetime later this is the only survivor of the bunch, but it’s the one worth hanging on to.

Neu!mann (Michael Neumann) PROG REVIEWER

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Santana - Caravanserai

Perhaps it’s far too easy for the younger generation to underestimate the enormous influence that Santana had on the direction of progressive music in the early 70s and that’s a shame. Maybe their well-deserved inclusion on this site will go a long way towards rectifying that situation. After establishing themselves as bonafied “Top 40″ chart-toppers with their first three studio albums the group was expected to continue that trend with more of the same radio-friendly ditties.

Instead, they shocked the listening public with an album that introduced the masses to the new and blossoming world of jazz rock/fusion that was jetting across the planet just under the radar of popular acceptance. “Caravanserai” was a real trip for the average Joe and not all of their fans were exactly thrilled trying to dance to odd time signatures but for many it opened a door to music that they didn’t know existed from bands like Return to Forever, Weather Report and The Mahavishnu Orchestra.

Now, don’t get me wrong. This album really doesn’t sound like any of those groups exactly. It went platinum because it’s still got that infectious, exciting Santana sound and groove that is undeniably addicting. But this one takes the listener on a fantastic journey I dare say is quite unlike any taken elsewhere. It stands alone in their vast catalogue of excellent musical offerings and I consider it their apex.

Along with Carlos’ stunning, emotionally inspired guitar playing, Michael Shrieve’s incredible drumming and the tandem of James Mingo Lewis & Jose Chepito Areas’ exemplary percussion are without peer in the timeframe this was released in. Even the gruff-voiced Greg Rolie (whom I always thought of as a weak link) surpasses all expectations and performs far beyond his perceived abilities. I’ll forego my usual song by song review and tell all of you that read this to simply experience the project as a whole. There’s not a low point to be found and the highs are numerous and unforgettable. They created a work of art that is accessible and understandable to even the most casual progressive mind while weaving a tapestry of tones and rhythms that is indescribable. It simply must be heard to believe.

I encourage all who love great progressive music to experience it. You will not be disappointed. A very solid 5 stars.

Chicapah (Rollie Anderson) PROG REVIEWER

Passport - Infinity Machine

PASSPORT was at the height of their popularity in 1976, playing a blend of cosmopolitan fusion that owed little to the traditional Jazz-Rock style pioneered by MILES DAVIS or JOHN McLAUGHLIN. The music leaned more in an easy listening Prog- Jazz direction, with a silver lining of Space Rock and a healthy dose of boilerplate mid ‘70s Funk. It sounds like an awkward combination, but with this quartet of talent, led by the indefatigable saxophonist Klaus Doldinger, their music has stood the test of time surprisingly well. The funkiness is front and center on the signature track here, the album opener “Ju-Ju- Man”: one of those definitive 1970s dance hits, and likely familiar to even the most casual listener (although I doubt very many people recognized it at the time as coming from a German band). The brass fanfares, mock disco beat, and that crunchy clavinet sound, along with lively virtuoso solos on sax and synth, are almost guaranteed to make you twitch your butt and tap your platform shoes. But the song is something of a novelty, and doesn’t really give a full account of the band’s true range. Listen to the nervous, optimistic energy of “Morning Sun”, or the romantic delicacy of “Blue Aurora”, an all-too brief idyll before the unexpected electronic double-whammy of the two standout selections on the album: the title track and the aptly titled “Ostinato”. The former is a balls-to-the-walls space jazz blowout with energy to spare; the latter is a lush, galloping synthesizer and sequencer-driven jam, ending in a spacey coda highlighting the world-class drumming of Curt Cress, who ranks up there with Bill Bruford at the top of the percussion pyramid.

The album ends with “Contemplation”, an almost symphonic sounding chill-out with a name that speaks for itself. Klaus Doldinger would continue to record as PASSPORT for decades to come, with a revolving door roster of backup musicians and in a variety of jazz-rock styles (including a vocalist at one point in the late ‘70s). But this album represented the end of a particularly fertile era for the band, marked by the last appearance of that striking Wandrey’s Studio cover art. It’s a strong album, still worth a listen after all these years; just don’t judge them by “Ju-Ju-Man” alone.

Neu!mann (Michael Neumann) PROG REVIEWER

Billy Cobham - Spectrum

2001 release. One of the greatest fusion albums of all time, recorded in 1973, remastered in 2001 from the original analogue tapes, and packaged in a digipack. Tommy Bolin at his absolute best surrounded by a truly amazing band. Tommy Bolin, guitar; Jan Hammer, keys; Lee Sklar, bass; and Billy Cobham, drums, percussion. Guests: John Tropea, guitar; Ron Carter, bass; Joe Farrell, sax, flute; Jimmy Owens, flugelhorn, trumpet; and Ray Barreto, congas. Mark - Audiophileimports.com

Narada Michael Walden - Garden of Love Light

Fresh from his stint as drummer for the Mahavisnu Orchestra, Narada Michael Walden found himself in a musical age when gospel,funk,pop,jazz and rock were blending with cosmic,social and spiritual meanings in the lyrics.Writer Ricky Vincent calls it the United Funk era and for his part Narada had something special in mind musically for this new era. This 1976 debut ‘Garden Of Love Light’ is a funk-pop-fusion delight,heavier on the fusion then Walden would later become.Musically the mix is solid as it comes-the title song,”Delightful”,the wonderous “You Got The Soul” and the ballad “You Are Love” all tie together soul,pop,gospel organs and walloping jazz fusion drumming to perfection,in each case under five minutes. As is still typical for him, Narada had called in the best musicians he could think of:Carlos Santana, Jeff Beck and David Sancious alone (never mind the presense of Raymond Gomez and the glorious Cissy Houston) all make their presense known,even if Narada is always the star attraction.’Garden Of Love Light’ is not an album of ego-it’s an album of Narada-a great artist (as well as a great assembler of talent) drawing huge musical dynamics and creativity out of everyone playing along with him.This is especially true on the instrumentals “White Night”,”Saint And The Rascal”, the long and winding “The Sun Is Dancing” and Santana’s powerful “First Love” that all, like the vocal numbers feel more like ritual marriment than music at times.

Lyrically Narada encourages the listener to find the happiness in the music they are hearing,feel it’s power and enjoy themselves.It embraces the same positive additude of EWF of the same period and when Narada becomes involved in improvisation he includes the listener on the journey with him. So on ‘Garden Of Love Light’ instead of trying to find the funk groove in fusion Narada discovers how fusion grooves like mad very well on it’s own terms. And as far as melody goes he packs enough into every song (ESPECIALLY the instrumentals) to choke a horse.

Narada was laying groundwork for future classics on his own and with many other artists in the future and I must say that ‘Garden Of Love Light’ gets Narada off to a terrific start. ~ Andre S. Grindle

Al Di Meola - Elegant Gypsy

Guitarist Al di Meola’s second record as a leader is generally an explosive affair, although it does have a fair amount of variety. With Jan Hammer or Barry Miles on keyboards, electric bassist Anthony Jackson, drummer Lenny White (Steve Gadd takes his place on the “Elegant Gypsy Suite”), and percussionist Mingo Lewis on most of the selections, di Meola shows off his speedy and rock-ish fusion style. He was still a member of Return to Forever at the time and was a stronger guitarist than composer, but di Meola did put a lot of thought into this music. The brief “Lady of Rome, Sister of Brazil” (an acoustic guitar solo) and “Mediterranean Sundance” (an acoustic duet with fellow guitarist Paco de Lucía) hints at di Meola’s future directions. A near classic in the fusion vein. Scott Yanow, All Music Guide

Gong - Expresso! (Gazeuze!)

Gazeuse! was the first in a successful line of strictly jazz-rock sessions for percussionist Pierre Moerlen and company — compositions that stressed jazz more than rock and which generally strayed away from lyrical content. This 1976 recording, also released under the title Expresso, was the band’s first completely instrumental album, a companion piece to the later, somewhat warmer Expresso II, which is quite similar in sound and structure. To say Gazeuse! is percussive is an understatement. Drummer Moerlen is accompanied by brother Benoit and Mirielle Bauer on vibraphones with Mino Cinelu playing other assorted percussion. “Percolations” is a showcase for this foursome: Part one, a display of beautiful vibes and xylophones; part two, a technically superb drum solo. Pierre’s playing is fierce in this second part, exhibited by some truly volatile drumming near the close. Allan Holdsworth is the sole guitarist on the album and contributes two of his own compositions. His “Night Illusion” is a standout and reminiscent of Bill Bruford’s Feels Good to Me on which Holdsworth collaborated around the same time. Longtime Gong member Didier Malherbe adds spice to the proceedings with jazzy flute on “Shadows Of” and prominent sax on the slightly funky “Esnuria.” ~ David Ross Smith, All Music Guide