Carmel They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

Carmel Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

snobb New York-based jazz/R'n'B singer José James's newest album, "1978" (his birth year), is a beautiful and elegant tribute to the music of his childhood. Containing all originals, the album can recall RnB sounds from the 60s and 70s, but it also has vibes that place it clearly in 2024.

The opener "Let's Get It" contains a string quartet and is a hypnotic aerial and percussive piece with a groove and vibe that may remind some of Al Green's laid back work for Stax. “Isis & Osiris” is a repetitive soul piece, sensitive and of fragile atmosphere. “Planet Nine” is funky, but still elegant, with a catchy tune. “Saturday Night (Need You Now)” is danceable and sexy,

"Black Orpheus (Don't Look Back)" is another in the Al Green direction and contains background vocals and beautiful guitar solos. "Dark Side Of The Sun" is a song with a more contemporary sound, it combines organically soul from the 70s with synth arrangements and Belgium-based poet Baloji rapping. "Place Of Worship" is a standalone piece based on international beats and containing Brazilian singer Xênia França vocals, besides José James' own.

"For Trayvon" is a ballade tribute to Trayvon Martin, with sensitive James' vocals over piano and strings. It is a beautiful and memorable melody as well. The closer, "38th & Chicago", contains Afro-Cuban percussion (from Pedrito Martinez) and another guitarist, Marcus Machado, with a lengthy solo.

The music, which connects past and present imperceptibly, may not be the most innovative, but probably the most beautiful album of this genre in the year 2024.

js “Brothers” is the latest album from veteran jazz and RnB drummer Towner Galaher and has him diving deep into the funk while citing some of his favorite 70s jazz-funk bands such as Tower of Power and Herbie’s Headhunters. The album is called Brothers because Towner has invited some of his oldest band mates, some going back 20 or more years, to join him on this journey back into their late 70s roots. B3 player Jimmy Sanders and bassist Randy Monroe were in Galaher’s first group, and saxophonist Craig Handy and guitarist Marvin Horne have been showing up on some of Towner’s later endeavors. All are capable soloists, but Craig Handy tends to get the lion’s share of solo space with his soulful tenor that may remind some of Michael Brecker or Bennie Maupin.

Many will recognize the song title, “Hit It and Quit It”, as a well known James Brown phrase, and this track has a definite JBs vibe to it, but Galaher actually got the beat for this one from Headhunter’s drummer Mike Clarke. “Piece of the Action” also carries that pure funk sound. Elsewhere on the album we get some variety with the Brazilian groove of “Rio-Lization” and the laid back ballad, “The Diamond Chalice”. “Cahva Bite” mixes things up with an alternation section in a 6/8 Afro-Cuban beat. Album closer, “Seventh Heaven”, is an organ based gospel flavored jam in 7/4 time. When handled correctly, 7/4 time has a built in momentum in that the last note of one phrase is also the first note of the next phrase. The overwhelming B3ness of this track recalls some of Billy Preston’s high energy instrumentals.

snobb Chicago-based trumpeter Eric Jacobson's third album as a leader, "Heading Home," sounds right out of the 1970s mainstream jazz scene, the nineties post-bop revival scene, or, simpler, it just sounds like one timeless classic album of mainstream jazz.

Eric leads an acoustic quintet of high-probe musicians, playing quite conservative, but extremely professional post-bop, with a lot of swing. Cross-generation band combines seasoned pianist Bruce Barth, veteran drummer George Fludas, mid-generation tenor Geof Bradfield, and session bassist Dennis Carroll.

Eight pieces, all Jacobson's originals, sound as if they come from inventive and enthusiastic post-bop times of the early 70s. There is a lot of light, optimism, and elegance in the album's music. Each composition has a different rhythm, from the up-tempo opener "Survival" to the lyrical ballade "My Love for Amy" to the swinging danceable "Heading Home".

Listeners usually expect quality mainstream jazz from Origin label's recordings. Still Eric Jacobson's "Heading Home" is a bit special one - very well played and edited, it is an example of how once great traditional post-bop can sound actual and really attractive today. Can be recommended for jazz purists and modern jazz haters, as well as for everyone who simply loves Jazz.

FunkFreak75 Wow! Combining high-powered, psychedelic rock and R & B like I've never heard it, Omar Rodriquez-Lopez--of THE MARS VOLTA fame--has created a monster of an album. Almost completely instrumental and, except for the guitar work and modern recording techniques, very reminiscent of lots of music and artists from the jazz fusion and electronic prog experimentalists fromt he 1970s.

1. "Melting Chariots" (3:51) starts off like something from a P-Funk album or TALKING HEADS' Remain in Light. The unusual staccato guitar solo is a quite inconsistent with the rest of the song's feel and sound. (8.75/10)

2. "Knee Deep in the Loving Hush of Heresy" (6:02) begins with ORNETTE COLEMAN-like free-for-all cacophony. The just as suddenly the music settles into a groove--an almost tongue-in-cheek 'sexy space' walk. The song flows intermmittently in and out of the opening cacophony, as well as into some stark bluesy sections. This sounds a lot like some of TODD RUNDGREN's wild sound/listener experiments from the 70s. The 'sexy space walk' jam is the overall dominant thread that keeps the song moving forward but there are many 'pauses' and 'interludes' into guitar and synthesizer 'tangents.' The song ends with a minute of straightforward heavy metal rock n roll. Interesting sonic and technical experimentation. (8.75/10)

3. "Jacob Van Lennepkade II" (18:25) is a wonderful multi-track (midi?) jam set over a very engaging, danceable groove laid down by the rhythm section. The occasional 'chorus' section is lead by saxophone melody--all the while the rhythm section keeps on groovin' away on the same pace, same riffs, same chords. The first five minutes are dominated by guitar(s) solo; second five by keyboard(s), third five by saxophone; and the final by guitars again. Awesome performances throughout. Great jam. (38/40)

4. "Fuerza de Liberacion" (5:33) begins with some odd synthesizer and vocal percussion 'noises.' At the one minute mark most of this fades away to be replaced by a kind of steady 'Carribbean' beat over which a heavily muted/treated male voice talks for over two minutes. Giving way to a multi-track guitar solo, beneath which the drummer--and then the keyboardist and saxophone player--has some real fun. The song's basic bass and keyboard structure remains steady and constant throughout. (8.875/10)

5. "Sparked From the Insult List" (6:08) is pure Latin groove rock--SANTANA at his jammin' best. Again, multi-track guitar (by which I mean that one guitar is being played but that it's sound is being channelled through two or more effects boxes and then into multiple recording tracks, giving it the feel that multiple instruments are being played). The presence of Rhodes-like keyboard and flute give this a very 1970s feel. Awesome feel and sound--one I can never get enough of. (10/10)

6. "Baby Fat" (2:47) has a very jazzy, KING CRIMSON feel to it--even down to the discordant free jam the song devolves into. (8.75/10)

7. "The Apocalypse Inside of An Orange" (11:14) is a true adventure in Psychedelic/Space Rock--even down to the "Indian" feel of the 'sitar' and bass sounds--a musical expression of pre-Big Bang (or post-apocalyptic) cosmic soup. It's actually quite entertaining and even engaging. (Again I am reminded of some of TODD RUNDGREN's work from the 70s--this time almost exactly like the middle 30 minutes of his 36 minute epic, "Treatise on Cosmic Fire"on Initiation). I quite like it! (18.5/20)

8. "Coma Pony" (6:36) is another throwback song, starting with a very cool, laid back jazz fusion (almost trip hoppy) groove set down by bass, drums, and very 60s/70s keyboard sound and style--over which the guitar again does his multi-track jamming. The ERIC GALE- like jazz guitar, BOB JAMES-like keyboard playing, TOM SCOTT/GROVER WASHINGTON- like sax play, and catchy melodies make this a very enjoyable and comfortable song--like a stroll through memory lane. (10/10)

Truly an exceptional album of adventurous music. Close to being a masterpiece; definitely 4.5 stars.

FunkFreak75 Klaus Doldinger's first release using the "Passport" moniker. Unfortunately, he would have to come up with a whole new lineup of musicians in order to produce his next album.

1. "Uranus" (6:35) with the use of weird synthesizer sounds and multiple "chorus" saxophones in the lead, this one sounds futuristic--like something that would influence the next/new generation of German prog rockers (ELOY and ANYONE'S DAUGHTER are what immediately come to mind). Though I like the flutes as a complement to the rest of the sounds in the second motif, it's Udo Lindenberg's drumming that really holds my attention the most--that and the intriguing sound choices coming from Jimmy Jackson and Klaus Doldinger's keyboards. (8.75/10)

2. "Shirokko" (5:44) opening with Klaus's solo saxophone being fed through some delay, echo, and panning effects for a 55-second intro before the drummer and bass player breaks into a groovy 1960s jazzed (or funked)-up surfer music motif. Clavinet-like keyboard provides the R&B guitar-like rhythm play while multiple saxophones provide horn-section-like background fill. Some of Klaus and Olaf Kübler's saxes solo over the top as well as Jimmy Jackson's organ in the third and fourth. Excellent! The really superstar (besides Udo's smooth/relaxed drumming) is Lothar Meid's chill bass play. A top three song for me--probably my favorite. (9.125/10)

3. "Hexensabbat" (4:27) using the heavy organ and "clavinet" sound from The Court of the Crimson King and driving Hammond and saxophone makes this song a very welcome proggy-side of the "new" jazz-rock fusion medium. Klaus's saxophone play leans far more to the sounds we've been hearing for a few months from Britain's VAN DER GRAAF GENERATOR. Another top three song. (9/10)

4. "Nostalgia" (5:13) taking his cues from the great WAYNE SHORTER, Klaus has got to be one of the other first/early users of sound engineering effects on his saxophones. Nice, evenly-paced low key song.(8.75/10)

5. "Lemuria's dance" (4:37) and Klaus's pioneering way of using multiple saxophones to create his DON ELLIS-like wall of strings- and/or horn section-like back texture has also got to be pretty innovative (as well as perhaps nodding back to his big band days). Drummer Udo Lindenberg again impresses: big time! (8.875/10)

6. "Continuation" (9:53) a song that starts out with a spacey bucolic motif that develops very slowly and deliberately within its atmospheric spaciousness before the band winds up in the second half ramping things up to another VAN DER GRAAF GENERATOR level of power: even going so far as to use similar sound palette and odd chord progressions. (17.5/20)

7. "Madhouse jam" (5:47) early MIROSLAV VITOUS/HERBIE HANCOCK/LARRY CORYELL-like funk using a rather simple bass and chord progression to define the rhythm track while adding some rock-like instruments like rhythm guitar and breathy flute; the whole foundation is just too blues-rock simplistic. Even WAR or BRIAN AUGER are more sophisticated and multi-directional than this. (8.5/10)

Total Time: 42:16

B/four stars; an excellent representative of the directions of possibilities in early Jazz-Rock Fusion.

FunkFreak75 Klaus Doldinger's second album using the "Passport" moniker, for which he had to get an entirely fresh set of musicians to try to support his vision, his compositions, including two Americans, keyboard artist John Mealing and drummer Bryan Spring. This marks the beginning of bassist Wolfgang Schmid (later known as Wolfgang Schmid- Grandy)'s six-year, six album commitment to Klaus. 1. "Mandragora" (3:46) very modern synth, clavinet, and electric bass noises open this one before drummer Bryan Spring and bassist Wolfgang Schmid align in an awesome cruisin' groove with clavinet right there with them. Though Klaus' multiple saxes present the main melody, it's his funky synthesizer that takes the first solo. In the third minute it's time for solo tenor sax. The melodies are okay, but it's the rhythm track that is so winning! (9.3333/10)

2. "Nexus" (5:23) here the rhythm section have some fun playing around with a wild game of tag before settling into a surprising R&B groove for Klaus to solo over while John Mealing plays around with his electric piano somewhere in the middle. Bassist Wolfgang Schmid and drummer Bryan Spring are playing like Titans (or monsters), as if they're in The Flintstones primal drum band--a theme that becomes even more pronounced in and throughout the fourth and fifth minutes. Not even Klaus' emotional soprano sax can take my attention away from this primal groove--not until the final 15 seconds when the band wind it down does the hypnotic effect fade. Nice! (9/10)

3. "Fairy tale" (7:32) gently echoing soprano sax notes float off into the mountain foothills while the gentle breeze tinkles the wind chimes and cymbals. Electric piano and bass notes join in slowly, transforming the porch-view into a trek into the foothills. Beautiful melodies issued by Klaus are apparently borrowed from a famous German folk song (which is even credited in the album's liner notes). Pleasant Herbie Hancock-like pastoral electric piano play during John Mealing's solo in the fifth minute. How can people discount this artist's abilities?! There is so much feeling and nuance in his play (not all flash and flare). Klaus returns with his soprano sax in the sixth minute as the rhythm section tightens up a bit--but not too much: just raising the tension levels a notch or two--but then Klaus' hypnotic echoed- melodies convince everyone to back down again to the gentle support roles they initially exhibited. Nice song! (13.75/15)

4. "Get yourself a second passport" (4:03) another funky clavinet-led R&B opening and acceleration is enhanced noticeably by the wah-wah and volume pedal modified rhythm guitar. (Wolfgang?!?!) Nice rhythm play beneath Klaus' soprano sax and "flute" synth solos. Wolfgang is really on fire in the "Can't Get Next to You" third and fourth minutes. Klaus switches to multiple instruments on multiple tracks to issue the main melody. Pretty cool! (8.875/10)

5. "Registration O" (9:24) Opening like a kind of campy burlesque song, the bass and low-end heavy drums are reinforced by a low-end organ bass as Klaus blasts away rather wildly on his tenor sax. I find it interesting how Klaus has mixed the organ's bass pedal line as the most forward, highest volume track in the song. Synth "saw" solo in the fourth minute is followed by a searing organ solo. But the biggest surprise (and highlight) to this heavy, MAGMA-esque tune is bassist Wolfgang Schmid's very good wah-ed electric guitar solo in the fifth and sixth minutes--it's even rousing enough to rile Bryan Spring into some risky drumming. But, with the advent of the seventh minute, everybody congeals again to a uniform goal, allowing the main bass melody to carry everybody to the eighth minute where they devolve the song in order to break into a new up-tempo motif with a cruisin' groove similar to that of the album's opening song. This then plays out in a jam as John and Klaus express their unbound feelings through organ, electric piano, and sax. Weird but powerful and definitely memorable. (17.5/20)

6. "Horizon beyond" (6:46) a fairly straightforward composition that is made so dynamic and entertaining by Wolfgang and Bryan. Plus, the sax play on this one (soprano) is one of the better/more accessible ones (for me). Even John's Hammond organ solo in the fifth and sixth minutes is great (though, admittedly, made better by Bryan Spring's drumming and Wolfgang Schmid's matching bass play). Nice melodies coming from both Klaus and Wolfgang. (14/15)

7. "The cat from Katmandu" (4:38) opens with a bass-and-drums straightaway: and then the multi-track conglomeration of several of Klaus' saxes presenting the melody (which is also quite catchy). And the throbbing organ chords in the background add a ton to the groove--a groove that becomes rather trance-inducing to we on the dance floor! This is also a sound that previews the sound that American saxophonist David Sanborn becomes so well known for. (9.75/10)

Total Time: 41:32

Due to superior production attention and techniques, even in 1972 Passport was exhibiting sound far in advance of that of most record companies in the USA; the production value here sounds like something from 1975 or 1976! (I urge you to compare this album to other 1972 releases in the jazz, rock and prog world: you will be very hard-pressed to find anything to measure up to this one.) The band have Dieter Dierks and Jörge Scheuermann at Dieter's state-of- the art home-based recording studio in Stommeln as well as bandleader (and producer) Klaus Doldinger's almost anal- retentive attention to detail to thank for this. The music, however, is often built around either 1) rather simple ideas and structures or 2) Klaus' fiery saxophone solos. Though there is no denying that Klaus is a very skilled saxophone player, his sound and style does absolutely nothing to help win me over into the crowd of saxophone fans. I'll even go further in saying that it is most often the work of his band mates that engages me despite my aversion to saxophone leads. While many reviewers find it difficult to find skill or accomplishment in the instrumental performances on this album, I find myself so impressed that I wonder if I'm listening to the same album these other reviewers are listening to. Drummer Bryan Spring and certainly bass player Wolfgang Schmid are very dynamic, engaging, even exciting to listen to, while keyboardist John Mealing is definitely no slouch. What are these other reviewers hearing/seeing that I'm missing? The sound recording is so clear and pristine that each musicians' contributions are fully on display; there can be no questioning their skill and talent--and with the knowledge of Klaus Doldinger's rather exacting expectations and standards, I find it hard to find fault in these performances: they're most likely doing exactly what Klaus has asked of them--and I hear a ton of creative inputs coming from each and every musician through each and every song!

A-/five stars; a minor masterpiece of rockin' and funky Jazz-Rock Fusion that feels two to three years ahead of the curve on the historical J-R Fuse trajectory. The sound production alone is well-worth any prog-lover's attention and appreciation: You gotta hear it to believe it!

FunkFreak75 Uber-talented guitarist Jukka Huaru is back with, unfortunately, his only other album as band-leader/featured soloist and composer. The sound and collaborators' inputs are much more cohesive on this album.

1. "Enema Syringe" (5:45) what opens as a full minute of displaying MAHVISHNU ORCHESTRA fire turns RETURN TO FOREVER at 1:20 with the introduction of the MiniMoog. At 1:45 then it sleakly slides over into pure JAN AKKERMAN territory before morphing magically into LARRY CORYELL and then GEORGE DUKE to JOE ZAWINUL-led WEATHER REPORT for the finish. The accompanying bass, drums, and keyboard playing is nothing short of miraculous! Amazing! Even if it is a bit imitative and even plagiaristic, this is pure Jazz-Rock Fusion perfection! (10/10)

2. "When I Met My Wondergirl" (8:52) beautiful and spacious LONNIE LISTON SMITH-like Cosmic Music with some awesome JAN AKKERMAN-like tone and feeling up top, mixed with the piano, sax, and bass (this latter grâce à the addition of Pekka Pohjola). The exposition takes a long time of stop-and-go before finally settling down into a fairly straightforward flowing "ballad" in the fourth minute. Just following the work of the two bass players is pure bliss--such a humbling joy! (19/20)

3. "Waltz Bourgeois" (4:20) interesting near-avant garde music of not-so melodic but more harmonically-conscientious musical constructs. This is closer to true jazz and the future avant waves of Jazz/Jazz-Rock than any of the other songs on the album. (8.875/10)

4. "Episode (Santiago 11. 9. 73)" (12:37) Now we are definitely in advanced WEATHER REPORT territory, complete with some excellent Wayne Shorter-like soprano sax and Heikki Virtanen's Jaco-like bass thrumming. Even the percussion play sounds like Acuña/Alias/Badrena trio and the clavinet and other keys like Joe Zawinal. The only thing that sounds different is Tomi Salminen's drum play, which sounds far more Lenny White. But then Jukka's lead guitar work sounds so much like that of NOVA's Corrado Rustici. Great, rich Fender Rhodes sound from Jukka Linkola--which peaks with the awesome solo in ninth minute. This is then followed by a great LARRY CORYELL-like guitar solo. I love this Latinized song! Just when it sounds like it's drawing to a close in the eleventh minute, the military drums and droning low-end piano chord-pounding keep it going so that Jukka and Teemu can play out for another minute. (23.5/25)

5. "Elegy (for Victor Jara)" (4:11) here we get a cross between Al Di Meola and Jan Akkerman in guitar style and support sound palette performing a lovely little lushly-surrounded Spanish acoustic guitar [iece that eventually goes electric guitar in its second half (not unlike Jan's "Soft" and "Hard Vanilla" songs on Focus' Mother Focus album). (9.3333/10)

6. "Goodbye Pinochet" (3:05) more Latin-infused high-speed Jazz-Rock Fusion of the Chick Corea kind, even to the degree of Jukka Linkola's keyboard play and the excellent play from the rhythm corps, though Jukka's guitar play here sounds more like the Toto Blanke side of Jan Akkerman or even a little of Al Di Meola's plucky-muted stuff. A great, peppy, tightly-coordinated song! (9.5/10)

Total Time 38:50

I can understand reviewers who disparage Jukka's conformity to the styles and sounds of the course that "standardized" (Third Wave) Jazz-Rock Fusion artists had taken, but I cannot help but extoll the amazing compositions and performances exhibited through this extraordinary lineup of musicians on this record. And, yes, Jukka's creativity on his 1972 debut was so high and so individualistic, but I am much happier with the overall orchestration and sound engineering of these compositions than those of Information. This is what "peak" Jazz-Rock Fusion should sound like!

A/five stars; a masterpiece of fully-formed, superlatively-engineered Third Wave Jazz-Rock Fusion. I feel so lucky to have been allowed to know this music!

FunkFreak75 The Finnish Jazz-Rock Fusion scene is taking off--and not just in the circles emanating from Wigwam!

1. "Mai-Ling" (6:16) interesting whole-band carry of the main melody while the simple militaristic rhythm section supports beneath. The two guitar tracks and saxophones are the most erudite--even if they are repeating "exotic" folk Eastern European melodies for the first three minutes. The second motif of guitar-led drums and bass only is a much better indicator of the high proficiency each musician possesses. Drummer Tapani Ikonen and bassist Heikki Virtanen impress (as does Jukka)! While the first part of this song sounded hokey and poorly planned and engineered, the second half more than makes up for it. (9/10)

2. "Room 1972" (1:52) sounds like music created to accompany a particular scene from an old silent film. A lot of sensibilities drawn from orchestrated classical music. (4.375/5)

3. "Jamsession the Finnish Yes Federation's Skinheaded Board" (1:33) a very entertaining Cheech and Chong-like skit in which a glossaphiliac expresses himself to his drug-stupored mate in multiple European languagall of which prefaces a spirited outburst of New Orleans jazz-rock. A very memorable song. (5/5)

4. "No More Blues" (6:55) a song that uses music to express humor in a very sophisticated, almost jazzy-avant-garde fusion way. Multiple tracks moving through their improvised melody-making as if separately but it all works harmonically and counterpointedly. At 2:25 the band switches to a different path--one that is more high-speed Hendrix/CREAM-like blues-rock. At the same time I hear a lot of influence from CHICAGO and BLOOD, SWEAT AND TEARS. (13.5/15)

5. "Evil" (6:08) what starts out as a kind of jazzy variation of the opening of Ravel's "Bolero" turns more FOCUS-like with some excellent speed electric guitar play played over some beautifully woven folk melodies (especially from violinist Juhani Poutanen). The virtuosic similarities in melody and style between Jukka and Jan Akkerman are rather striking. Very creative, inventive song with some flashes of true brilliance from Jukka. A top three song. (9.25/10)

6. "Splitting" (3:24) jazz drums, bluesy electric bass, Fender Rhodes electric piano, and wah-wah distorted guitar that sounds like John Tropea in "Also Sprach Zarathustra." Nice display of skills and compositional capabilities--though the bassist always sounds a bit in his own universe. I do, however, like the disparate inputs of the horns and other instruments: it's cacophonic but somehow works as a cohesive weave. (9/10)

7. "Information" (4:35) an awesome weave between sax, violin, bass, and electric guitar that totally predicts the early J-R Fusion style of the great Jean-Luc Ponty. Awesome song. A top three for sure. (9.25/10)

8. "Refilling Valve" (3:40) strumming of the piano wires before the pianist commits to playing the keys--all the while the recording mike is obviously more focused and concerned with the sounds emanating from within the box than from through the piano frame as a whole. Some violin joins in in the second minute but then every body sits down (including the pianist and sound recording engineer) to listen to some lovely piano contemplations. I really respect the act of Jukka's giving pianist Olli Ahvenlahti this opportunity to express himself. Another quite memorable song--one that I really like. (8.875/10)

9. "What?" (4:44) opens with a motif that sounds like a song variation inspired by a motif in KING CRIMSON's "21st Century Schizoid Man." At 1:30 the band switches roads and moves onto the expressway with some standard drums, electric bass, Fender Rhodes, and electric guitar soloing (here Jukka still finding an anchor and inspiration in Robert Fripp's melody lines from "21st Century Schizoid Man"). I love Olli Ahvenlahti's Herbie Hancock-like electric piano accents thrown over the top of the frenetic bass and drum playing. (9/10)

10. "Waltz for the Straight Relatives" (2:25) a little FOCUS-like folk ditty that is repeated over and over with different layers and soloists for its two-and-a-half minutes. (4.375/5)

Total Time 41:32

Great compositions performed beautifully by some very skilled musicians. Too bad the sound treatments and engineering choices aren't a little more creative and advanced. (I'd love to have felt a little more cohesion in the overall sound blending of each song.) Though impressive in its variety of styles and influences, I would have liked to have heard a selection of tunes that gave me a better sense of Jukka's preferences. (I know that's unfair--especially as most hyper-creatives are cursed with wanting to express each and every thought and idea flowing through them, so, I apologize.)

A-/five stars; a minor masterpiece of First Wave Jazz-Rock Fusion from a creative songwriter and his cast of highly-skilled instrumentalists.