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

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 Progressive 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 jazz rock 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

Bill Bruford - Master Strokes

Personnel: Bill Bruford (spoken vocals, drums, cymbals, percussion); Jeff Berlin (vocals, bass); Sam Alder, Anthea Norman-Taylor (spoken vocals); Allan Holdsworth, John Clark (guitar); Patrick Moraz (piano); Dave Stewart (keyboards). Producers: Ron Malo, Robin Lumley, Patrick Moraz, Bill Bruford. This stunning collection represents the best of the solo excursions by master British drummer Bill Bruford. After his tenure with the seminal prog-rock group Yes and between various regroupings of King Crimson, Bruford has found time to maintain an impressive solo career, mostly in the jazz/rock fusion vein. As this collection demonstrates, Bruford is as musically sensitive as he is adventurous. The main thread that runs through these works is that, although Bruford certainly provides plenty of rhythmic intrigue with everything he plays, this is not necessarily drum-centric music. Instead, most tunes feature intense ensemble work dappled with spots of remarkable solo efforts. Also, sprinkled here and there are brief gems like Bruford’s duets with pianist Patrick Moraz and his interpretation of Max Roach’s “The Drum Also Waltzes” solo. Other worthy cuts include the opening “Hell’s Bells,” the energetic “Beelzebub,” and the off-kilter “Fainting In Coils,” which opens with a bizarre narration.

Return To Forever - Romantic Warrior

Originally released in 1976, Return To Forever’s Romantic Warrior could be described as the high-water mark of jazz fusion’s commercial popularity, reaching a spot on the Billboard charts and garnering the group a fanatical following of fans attracted to the band’s technical prowess and bombast. Released on the heels of the breakup of the Mahavishnu Orchestra, Romantic Warrior still sounds like a standard-bearer for jazz fusion, full of flashy solos and complicated arrangements that seem like collages of different moods, meters, and tempos. The album is much closer to the progressive rock of Yes, Emerson Lake & Palmer, or King Crimson than anything from the jazz realm. Return to Forever’s rhythm team of bassist Stanley Clarke and drummer Lenny White, who gives the group a subtly funkier sound than most of their contemporaries. Still, it’s pianist Chick Corea, using a veritable arsenal of keyboards and effects, and guitarist Al DiMeola, only 21 at the time of this recording, who define Romantic Warrior as a fusion landmark. This reissued edition comes with improved sound and a brief reminiscence by Corea in the liner notes. –Ezra Gale

Jeff Beck - Wired

Released in 1976, Jeff Beck’s Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden’s powerful drumming propels much of Wired, particularly Middleton’s explosive opener, “Led Boots,” where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused “Come Dancing,” which adds an unnamed horn section. While Walden’s “Sophie” is overly long and marred by Hammer’s arena rock clichés, his “Play With Me” is spirited and Hammer’s soloing more melodic. Acoustic guitar and piano predominate the closing ballad, “Love Is Green”; Beck’s electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden’s more intricate compositions. Walden and Hammer give Wired a ’70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb’s throw-down, “Head for Backstage Pass,” finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer’s “Blue Wind” features an infectious riff over which Beck and Hammer trade heated salvos. As good as “Blue Wind” is, it would have benefited from the Walden/Bascomb rhythm section and a horn arrangement by Martin. One of Wired’s finest tracks is an arrangement of Charles Mingus’ “Goodbye Pork Pie Hat.” Beck’s playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock’s most compelling guitarists is in top form. ~ Mark Kirschenmann, All Music Guide

Santana - Borboletta

Starting on the same birdsong and sheep herd landscapes than its inspiration (but written by jazz-rock great Airto Moreira), you just know you will be in for another superb Santana ride as right after the intro, the first few mid-eastern scales of Canto De Flores directly lead you to heaven. As usual with Santana albums, happiness radiates from every pore of the vinyl record groove and Life Is Anew and Give And Take (both sung and hyper positive) are some of the better sung jazz-rock (I am usually not really a fan of that “thing”), and the vocals do help setting its own feel as opposed to its inspiration. On a lesser level, One With The Sun, while still lovely, is maybe one sung-track too many in a row, but I might be just a bit over-nitpicky. Aspirations quickly repairs this slight flaw with its splendidly cosmic calmness. After the great Practice What You Preach instrumental, one more sung tracks (I must say that Leon Patillo’s voice is quite pleasing) the excellent Mirage, the impressive Here and Now is quite a departure from what Santana had us used to and segues into the highly fusional Flor De Canela, before the album climaxes in the lengthy Promise Of A Fisherman, which is not lying in its promise to the listener: although nothing never heard before, we are dealing with one of the last truly great lengthy Santana instrumental here. The closing Airto Moreira-penned track is rather anecdotical, but does close the album in the same intriguing manner it opened. One of the thngs that differentiates this album from the ultimacy (if you’ll allow the creation of a new word for that album) of Caravanserai is Greg Rollie’s absence >> both his organs and his voice are aptly replaced and almost equalled. But really, this album has very few to envy to it either, so I will round up its rating to the upper unit, making it also a five star. (Hugues Chantraine)

Jean-Luc Ponty - Aurora

This CD reissue has state-of-the-art (for 1975) high-powered fusion that differs surprisingly little from the music that Jean-Luc Ponty has mostly played throughout the 1980s and ’90s. The violinist’s quintet (which includes guitarist Darryl Stuermer, keyboardist Patrice Rushen, bassist Tom Fowler and drummer Norman Fearrington) displays impeccable musicianship and lots of energy. The group was often so tight that the violin, keyboards, guitar and (to a lesser extent) the electric bass had similar tones, sometimes making it difficult to tell who was soloing at a particular moment. Listeners open to the sound of electronics and funky grooves should be very impressed by the spirited music which combines the adventure of jazz with the sound of rock. ~ Scott Yanow, All Music Guide

Mahavishnu Orchestra - Birds of Fire

Most of what we now recognize as Jazz Rock Fusion dates back to the first two albums by John McLaughlin’s MAHAVISHNU ORCHESTRA, which ought to be enough reason to locate either on that (sadly, not very remote) Prog Archives plateau of certified five- star masterpieces. “Birds of Fire”, in 1973, was the second and more popular of the pair: a sizable crossover hit at a time when even casual music fans were a lot more adventurous than they are today.
Significance aside, it was also an essential slice of unadulterated instrumental genius, allowing McLaughlin the chance to refine the lessons learned alongside Miles Davis during the legendary “Bitches Brew” sessions a few years earlier. Miles drew the blueprint; McLaughlin built the house, giving it some necessary structure (and brevity: compare any cut here to the monster 27+ minute title jam from Davis’ 1969 album), and directing it toward an audience more accustomed to the sounds of Jimi Hendrix.

Like all the best so-called Fusion, this is actually Rock, but played with a jazzer’s ear for timing and dexterity. Listen to the aptly titled twin tracks “Hope” and “Resolution”, with their endlessly rising chords anticipating what would soon be heard from the “Larks Tongues” line-up of KING CRIMSON (Fripp and McLaughlin were clearly kindred musical spirits). Or the pinpoint speed and precision of “One Word”, accelerating to a hypertense climax from an already alarming breakneck pace. Or the furious title track, with McLaughlin trading heat and friction with Jerry Goodman’s (electric) violin and Jan Hammer’s keyboards.

Loud and fast guitarists were of course not uncommon in the 1970s, but McLaughlin’s style was something else entirely: raw and emotional, heartfelt but blistering, and matched only by the superlative talents of his fellow Mahavishnu bandmates, surely one of the most impressive group of musicians ever assembled. But it isn’t all virtuoso fireworks. “Miles Beyond” (a tribute of sorts to McLaughlin’s mentor, who on “Bitches Brew” had likewise named a song for his guitarist) digs an easygoing groove, and “Open Country Joy” should strike a chord with fans of the DIXIE DREGS more bucolic barnyard excursions. Then there’s the 22-second “Sapphire Bullets of Pure Love”, a spurt of proto-ambient noise with a title longer than the track itself.

The band imploded during the sessions for an aborted third studio album (see “The Lost Trident Sessions”), but they left behind a long shadow, filled with countless Jazz Rock copycats. Imitation is said to be another form of flattery, but none of it could ever hope to match the original.

Neu!mann (Michael Neumann) PROG REVIEWER

Third album from this German combo that was entering a more difficult phase, plagued with personnel problem and they had to wait almost three years since the release of their second album. I am not sure about this but the group might have disbanded during this time. By now (79), the Ihre Kinder and Embryo roots were long gone, and guitarist Muck Groh had departed (although he guests on one track), leaving wheelchair-bound saxman Kreuzeder a bit alone at the driving wheel. As he was the only remaining member from the previous two albums, understandably the group sounded quite different, especially that the JR/F scene had gone from jazz rock to jazz-fusion. Still released on the legendary Erlkonig label, this album (sporting a cartoon-like artwork) sounded very different, starting with vocals and yet another shift away from progressive rock towards jazz-fusion.

As said above, the guest musos included old Aera Muck Groh, Missing Link’s Limberg and they would be joined for touring and the future next live album by ex-Embryo Roman Bunka. But Aera was now a very percussive group with two full time percussion players and most other contributing some more at a given time, thus giving often a Latino feel to the album, a bit like Pazssport did at the time, although not quite that extensive. The vinyl’s first side starts very mildly with two run-of-the-mill fusion tracks that are effortlessly forgotten as soon as you hear their three-piece suite Dracula. Driven by a descending keyboard line, the group plays their heart out with Kreuzeder soloing away. The closing tidbit is also best forgotten.

The flipside doesn’t really start much different, with the average opener You Need Some Speed and the closing Siebert (both above the 6-min mark, and enjoyable if not too picky), the highlight is again the longer (title in this case) track. Indeed Turkis has a slight eastern feeling and a great electric piano that does give it the edge over the rest of the album. Isn’t it sad to realize that the two best tracks are indeed the most progressive rock ones? It is safe to say that this album is saved by Gieseleer’s keyboards, even if the rest of the group are all ewxcellent musicians (Kreuzeder in particular), but the inspiration was not leadig the group towards adventure, but rather commercial safety.

As mentioned above a live album was up next and then the group will endure further line-up shuffles, record ever-increasing commercial jazz-fusion albums (Akataki is still worthy) on another legendary label, Spiegelei. As for the present album, it is an honest JR/F album of the time (but 79 was not the best of times for that style of music) , but we are a far cry from their firqst two albums, which are much better and should be investigated in priority.

Sean Trane Hugues Chantraine PROG REVIEWER