Chicapah This album presents one of the classic good news/bad news scenarios. After their brilliant "One of a Kind" LP turned more than a few jazz/rock fusion heads, three of the four members stuck around for the follow-up. That's the good news. The bad news is that the inventive, unpredictable (yet always entertaining) Alan Holdsworth was the one who departed and he left behind some mighty big boots to fill. Things start well enough with the exciting, new wave-flavored "Age of Information" that is peppy and bright, containing a very catchy musical refrain with clever accents. However, this is also where you are introduced to bassist Jeff Berlin's singing voice. It's not that he can't hit the notes because he does that very well but his vocal has no character, no personality and it hangs around like a pesky gnat for the duration of the album. It's not his fault that he doesn't sound like Greg Lake but they could have done better with another singer. "Gothic 17" features a strange, jazzy vocal line (again, sung accurately but not memorably) and starts with a lot of energy before dropping down to a quieter level that utilizes a cello. This song is where "the unknown" John Clark (as he is identified in the credits) shows that, while he employs a lot of the same tones and effects that Holdsworth uses, he's not quite in the same zip code as his predecessor. In other words, the tune could have benefited from some of Alan's surprises. Jeff Berlin's incurably funky instrumental "Joe Frazier" is the highlight of the proceedings. It has an infectious high-speed melody played simultaneously by the bass and piano as its centerpiece but it's really a showcase for Berlin's fabulous dexterity and he rises to the occasion with an incredible performance. You'll probably want to play this one over and over a few times before moving on. "Q.E.D." is a very interesting song. After a mysterious beginning it takes you through many phases where there's not much in the way of melody but the towering quality of the musicianship is overwhelming and it never gets boring. "The Sliding Floor" brings back Jeff's limited vocals but the band creates some very powerful music behind him. The break down in the middle is a treat. Bill Bruford wrote the peaceful "Palewell Park" but he doesn't play a note as Dave Stewart's delicate piano and Berlin's bass are all that's needed to convey the song's soft meaning. It's also a refreshing change of pace. Bill's lively, slick "Plans for J.D." follows. Jeff warbles the odd melody as well as one can expect him to but this tune never really finds its identity and is forgotten as soon as it's over. Stewart's "Land's End" finishes the album with a flourish as the band creates a kaleidoscope of musical colors and hues. It starts with some intricate but freely drifting melodies before transitioning to an uptempo segment where Clark shows he's got game. A beautiful, slower piano part intervenes briefly, then Berlin gets another chance to shine on his bass. Drummer boy Bruford has been content to stay in the background up till now but here the spotlight finally turns his way and he flashes a couple of dynamic fills here and there to demonstrate that he's still got "it." The tune has a nice build up and takes you full circle to the original theme. A bit avant-garde but never dull.

After being wowed by "One of a Kind" I really expected more from this one but maybe that was unfair considering the circumstances. John Clark turns in a courageous (but ultimately predictable) guitar contribution and Jeff Berlin sings the best he can with what he was born with but the album is a step back. It never really caught on and the group eventually called it quits before recording anything else. All in all it's an above average album that doesn't reside on the same lofty level as the one that preceded it.

Nightfly Bruford's Gradually Going Tornado album had the unenviable task of following on the heels of Feels Good to Me and One of a Kind, two late seventies Jazz Rock albums, One of a Kind in particular of mythic status amongst lovers of Fusion and Progressive Rock. As a result of this it is often overshadowed by its predecessors which is a shame because this is an excellent album, if not quite the equal of One of a Kind. The line up from the previous album remains with the exception of Alan Holdsworth who had been replaced by John Clark, a pretty serious loss you may think but Clark is an excellent player and an inspired replacement with a style similar to Holdsworth, fitting in well with the high calibre virtuoso playing of the rest of the band. Bill Bruford of course needs little introduction to Prog fans, one of the best Drummers in the genre. As expected his playing here is excellent, often keeping the music moving with what on the surface appears a simple groove, yet hiding a more complex undercurrent. Geoff Berlin, one of my favourite Bass players at the time doesn't disappoint with his upfront fluid Bass lines and neither does Keyboard player Dave Stewart. Berlin also takes lead vocals on much of the album and whilst an adequate singer is not spectacular. So onto the music, the album kicks off with Age of Information, a mid paced Keyboard dominated track which is not the most spectacular start and would have been better tucked away mid album somewhere. Much better is the far more dynamic Gothic 17 which alternates from driving rhythms to atmospheric Jazzy quieter sections. Both tracks feature Berlin on vocals. The brilliant Joe Frazier follows and is one of the best tracks on the album. An instrumental where much of the time Berlin's Bass and Stewart's Piano play in unison note for note with a complex patern. Clark also contributes greatly with some soaring Guitar and Bruford really drives the track along. Excellent stuff and one of the best Bruford tracks ever. Q.E.D., another instrumental brings things down a notch, at least to begin with before building up to some exceptional playing from all concerned, with in particular some great Berlin moments.

Another favourite of mine, The Sliding Floor opens up side 2 of the original vinyl version of the album. It's Berlin's Bass work that really hits the spot with his busy driving runs sometimes mirrored with Clark's cutting Guitar. It also features Berlin's best vocal performance. Next comes Palewell Park, a more mellow moment with some lovely Piano and beautifully fluid Bass, in fact the only instruments to feature on the track. The tempo picks up again for Plans For J.D., another song which has a nice groove to it and last but not least Land's End closes the album. At just over ten minutes it's the longest track on the album and much use of light and shade is made, driving one minute, more introspective the next and a fitting end to an excellent album.

So if you've never bought a Bruford album, go and get One of a Kind first but don't forget about this one and add it to your list for future purchases.