js Along with Miles Davis and Eddie Harris, Herbie Mann was one of the most eclectic jazz artists of his time, with albums ranging from pop to avant-garde, any single album can be in a totally unique style that is unlike any of his other albums. 1970’s “Stone Flute” is one such album, as it finds Herbie experimenting with drifting ambience, psychedelic sound and a sense of time suspended. The music on here is very similar to sound experiments that Miles Davis was performing as he was making the tracks that would show up a few years later on “Big Fun” and “Get Up With It”. If Mann didn’t hear any of those sessions, I’m sure he heard the somewhat similar “In a Silent Way”, certainly both artists were trying out similar ideas and approaches as they sought to produce music that hung in the air with a sense of infinite space.

Herbie has a backing band on here, but they are mostly in the background as side one slowly unfolds with Mann’s flute, sometimes double tracked., dominates the proceedings. A time warped version of the Beatles “Flying” is a highlight on this side of the album. Side two opens with the more busy and dissonant free fusion of “Miss Free Spirit”. This track also features the only solo from vibraphonist Roy Ayers who unleashes a torrent of scattered scales. Side two closes with two abstract ballads that put Herbie front and center again. There is no keyboard player listed on the credits, but the sound of held chords on a Lowery organ show up often. There is also a string quartet who are often arranged deep into the mix adding more vague sounds mixing with the other background instruments. If you enjoy Miles spaced out tracks like “He Loved Him Madly” or side four of “Agharta”, you will probably like “Stone Flute” too. This album was very much ahead of its time as it pre-dates more recent efforts by artists like Brian Eno, Bill Laswell and much of today’s nu jazz scene.

FunkFreak75 Recorded in New York on March 18 & 20 and August 8, 1969 and then released in 1970 on January 15 on Herbie's on Herbie's new label, Embryo. The album represents quite a departure from previous Herbie albums in that it contains five (out of six) original compositions. It also employs several fairly young, experimental instrumentalists in Roy Ayers, Sonny Sharrock, Ron Carter, and Miroslav Vitous.

1. "In Tangier/Paradise Beach" (10:35) quite a long, atmospheric, and very cinematic (think Lawrence of Arabia) opening with mellifluous low flute notes played alongside Bruno Carter's twinkle-touch cymbal play. Guitar, bass, and other percussives begin to eek their way into the mix in the third minute. Then strings, At the five-minute mark the music shifts into its second theme, "Paradise Beach." Ron Carter double bass, uncredited piano (that I'll assume is Herbie but could be Roy Ayers), a little vibraphone, with simple time-keeping brushed drums and, later, orchestral strings establish the rich, almost lush soundscape; it's beautiful! Herbie Mann's approach to flute is so soothing and melodic. I love this! Now I know who might have inspired BOB JAMES to make the kind of music he did. A very enjoyable tune! (19/20)

2. "Flying" (5:21) from the Baptist church organ opening to the Southern fried blues meat of the soft center, I can appreciate the music and its performances but have to admit that I do not really enjoy this music. (8.75/10)

3. "Don't You Know the Way (How I Feel About You)" (5:17) a song mired in the blues. Slow and melodic but it just doesn't satisfy me. (8.5/10)

4. "Miss Free Spirit" (12:40) Very nice work (and interplay) between Miroslav Vitous, Herbie, and drummer Mickey Roker. The music is still very much jazz despite the enlistment of electronic elements (like Sonny Sharrock and the uncredited organ). The flute play is way more vivacious than anything before this, Herbie really showing his skills in the third and fourth minutes. Song swims along rather placidly until some weird descending strings chords are added near the end. (22.25/25)

5. "Waltz for My Song" (4:23) another slow, drawn out rather contemplative exploration of unusual chord progressions from bass, vibes, and organ over which Herbie's flute tries to find and create melody. Very interesting. (But what's the deal with all of the uncredited keyboard parts? That's four songs now!) I like it most for the fact that everyone on board feels equally invested and engaged. Great, fitting performances. And a beautiful closing with William Fischer's strings arrangement in support. (8.875/10)

6. "Pendulum" (2:35) a little bit of stage-friendly Burt Bacharach-like pop and circumstance. (5/5)

Total Time: 40:51

As other reviewers have noted, this is not the Sonny Sharrock that everyone will be expecting: here he's quite reserved and circumspect; the album offers more opioid effect than exciting experimentalism. Also, this not a very inspired or dynamic Ron Carter. Even the young and adventurous Miroslav Vitous has a little trouble unleashing his true self on the songs he performs on.

A-/4.5 stars; an excellent album of subtle performances from a great cast but not quite a masterpiece of Jazz-Rock Fusion.