FunkFreak75 Recorded at MPS studios in Villingen, Germany (one of two albums Jean-Luc recorded with engineer/producer Hans Georg Brunner-Schwer for the MPS label), the sound palette of the album is much closer to those of classic jazz of the Sixties with a little free-jazz and Tony Williams-like energy thrown at us.

1. "Flipping, Part I" (4:38) McCoy Tyner-like piano opens this as a oboe/soprano saxophone-sounding violin joins in bringing in the melody over the top. Traditional jazz-sounding drums and double bass join in, filling out the sonic field. This sounds a lot like a variation on John Coltrane's "A Love Supreme." Joachim Kühn's four-chord piano motif is so robotic while Jean-Luc's rudimentarily-electrified violin is way too loud in the mix, between the two of them I can barely hear the much more dynamic and adventurous drums and bass. (I wish the engineering mix had been better.) Obviously, Jean-Luc's John McLaughlin-like violin style was at play here--and his compositional acumen had not matured beyond imitation yet: it's all imitative. And I definitely can hear no presence of guitar here. (8.66667/10)

2. "Flipping, Part II" (10:38) There's the guitar! While I really like the country-folk sound of Jean-Luc's violin, I appreciate more the active interplay of the background musicians: even though they are quite interactive, they blend and weave exceedingly well no matter who is in the lead position (Jean-Luc, Philip, or Joachim). I find Joachim's play to be the most intriguing and enjoyable as he has a wonderful way of using space within and between his phrasing. (Not unlike Rainer Brünignhaus in a few years.) As a matter of fact, the more sparse the instrumental palette, the more interesting and beautiful are the solos being played. (The second half.) (17.875/20)

3. "Flipping, Part III" (5:31) this section of the song suite is dominated by the unusual phenomenon of a violinist plucking and strumming--aggressively--his instrument while an electric guitar solos away with him and, later, over the top. Though not always very melodic, this section is very interesting! And Philip Catherine shows his guitar skills and maturing command of free-form jazz in his often atonal and dissonant yet technically-skilled solos. Unfortunately, the contributions of Peter Warren, Oliver Johnson, and Joachim Kühn feel random, disconnected, and almost wasted. (8.75/10)

4. "Open Strings" (14:50) this song opens with two tracks dedicated to Jean-Luc's solo violin, but then the piano-based rhythm section band joins in (still based within acoustic instrumentation), at first supporting Jean-Luc but then becoming more boisterous and dynamic as Joachim takes the lead. Again, there is a rather "wild" and joyful "freedom" being expressed by the band despite a very solid (and sometimes familiar) melody being the foundation upon which the entire song revolves. Jean-Luc's mic'ed violin is never really far from sounding melodic or "pretty"--except when he purposely slurs a note into flatness or sharpness--whereas Joachim, Peter, Oliver, and, later, Philip's allegiance to said melody is far less obvious. (Philip's only presence is felt in his solo during the 11th minute; I do not hear his presence at all as part of the rhythm section.) But: Free jazz? Not seriously--especially not if one is listening to the bandleader. That first "full band" frenetic section and the duplicate end section could be construed as such, otherwise the band is just "stretching their legs." (26.5/30)

5. "Sad Ballad" (4:12) the lone Joachim Kühn composition starts out with the band gently supporting Jean-Luc's violin playing a slow, plaintive melody, but the music enters the "open field" in the middle with each musician going totally off book before coming back together for an end that mirrors the beginning. I like the main motif; it definitely previews many of Jean-Luc's more memorable melodies in future albums. (8.875/10)

Total time 39:49

I was not expecting the sound palette to be so close to acoustic jazz: Jean-Luc had obviously not yet discovered the synthesized effects and electric collaborators that he became so famous for later. The music of Open Strings does not feel quite as free and loose as many reviewers have disparagingly affixed to it: there is plenty of structure, discipline, comradery, and even melody on display here. Also, this is not the first time that Jean-Luc would gravitate to the side-long suite form as he did here for "Flipping"; as a matter of fact several times in the Seventies--and get better at it with each attempt.

B/four stars; an album of alternatingly entertaining and irritating songs and motifs all presented with impressive musicianship and respectable improvisational acumen. Ultimately, however, this qualifies as one of my least favorite J-L P albums.