FunkFreak75 The first album in which Chris's solo work reflects a new direction--one away from the pastoral easy listening personal renderings of famous folk, popular, and classical themes. Something has got under Chris's skin and he is ALL ON BOARD with that Jazz-Rock Fusion thing!

1. "Di-da-de-lu-da" (8:08) Chris must have heard the music and work of Michal Urbaniak and his stunning vocalist wife, Urszula Dudziak, because this song bears a very strong resemblance to the music that these two had been making in Germany before they emigrated to the United States (in September of the very year this album was released). (The Urbaniaks had, in fact, recorded an album at Keytone Studios in this same year.) This is full-pm Jazz-Rock Fusion, noting the fact that not only was Chris paying attention to what was going on in the music world around him, but that he was listening to his collaborators, interested in growing and trying new things, and a very quick study of new styles. The sophistication and maturity of this song when compared to the music on his previous albums is truly remarkable. And John Lee and Gerry Brown and the other jazz-oriented musicians on board must have been very pleased to be "let loose" to play with the reckless abandon that was all the rage in the Jazz-Rock Fusion world. (13.75/15)

2. "Mission Suite" (14:50) very high octane First Wave Jazz-Rock Fusion, at times feeling like an amped up Miles Davis session for Bitches Brew, at others sounding very much like Mwandishi-era Herbie Hancock. Hearing John Lee let loose on his double bass during the middle section is awesome, with the gentle yet-supportive electric piano of Rob Van De Broeck. This is then followed with some unaccompanied solo electric piano. Henny Vonk's haunting Flora Purim-like vocalese returns--as does Gerry Brown's cymbal and light tom-tom play, as Rob Van De Broeck continues putting us to sleep. Chris's flute returns in the fourteenth minute to help take us to the end. I am here reminded of yet another "new direction" Chris has committed to with this album, and that is a more collaborative democratic leadership style. On his previous album releases Chris was almost never not in the lead, used supplemental musicians as mere "atmospheric thickeners" for the support of his flute. Now, this is not my favorite kind of Jazz-Rock Fusion: it's too loose and unstructured, but I commend Chris for his growth. (26.25/30)

3. "Deliverance" (11:20) Jazz-Rock Fusion that seems to be straddling the fence of whether or not it wants to be rock-pop like SANTANA or jazz-rock-classical fusion like Eumir Deodato, Herbie Hancock, or Freddie Hubbard. It gets good in the fifth minute as Chris really gets involved with his spirited flute play. He is really good! And the band rises to the occasion around him--as if inspired by his contagious and almost-reckless enthusiasm. Again I am more reminded of Mwandishi-era Herbie Hancock and friends during this motif. By the end of the eighth minute Gerry, John, and Rob really have the band cruisin' along with the force rivaling anything Chick Corea's RTF ever did--even in their peak Romantic Warrior days. (No wonder Gerry was chosen to take Lenny White's place for the end of the Return To Forever wagon train.) A song that gets better and better the further into the song you go. (18/20)

4. "The Ballad" (3:49) steady piano chord play with bass, drums, electric fuzz guitar, frantic flute and sitar pull off a remarkable little jam. (9/10)

5. "Bamboo Funk" (5:26) a song that starts very delicately--almost like a psychedelic folk song--but then it starts to turn into the real groovin' tune it becomes at the end of the first minute. John Lee's infectious bass play seems to amp everybody up as electric guitar, drums, and electric piano start really giving more in the second and third minutes. At 2:20 Chris enters with his flute--which becomes more and more impassioned as the song progresses--as everyone participating over John Lee and Gerry Brown's passionate play in the rhythm section begins to get infected. Actually, virtually everyone becomes part of the impassioned rhythm section of this great song--including Chris, Henny Vonk, and Sigi Schwab's manic-strumming 12-string acoustic guitar. How fun! What a great send off for both the band members and the album listeners! (9.5/10)

Total Time 43:33

I love the spirit of Chris Hinze's new direction--which results in some truly top notch First Wave Jazz-Rock Fusion.

B+/4.5 stars; a near-masterpiece of surprising Jazz-Rock Fusion.