FunkFreak75 I remember really enjoying this album for driving and summer outdoor background music when it came out. This is Jean-Luc in his extraordinary peak run of great albums. I also had the privilege of seeing him in concert with this album tour.

1. "Stay With Me" (5:35) a long drum-and-bass-less opening presents Jean-Luc's space-violin at its spaciest. The drum and bass inputs are minimal while the guitar and keyboards are nebulous, literally, as one cannot distinguish between the synthesized violin-generated sounds and effected keys and gtrs. (9.3333/10)

2. "Sunset Drive" (5:45) though the four chord vamp (with very cheesy early techno-pop [think "Tainted Love"] drum machine!) is a bit cheesy, Ralphe Armstrong's opening fretless bass solo is quite impressive. Jamie Glaser then takes over the lead with a rather odd guitar sound: sounding like a rhythm guitarist trying to play a solo in a kind of 1960s jazz style with this whole weird modern sound filtering his guitar play. Starting at 2:34 the best section of the song starts as the rhythm section seems to be trying to drown out Jamie, but this just spurs the guitarist on to better heights. Then it's Jean-Luc's turn (this had become his new habit in his mature and secure years: allowing his collaborators to have the first solos--despite the fact that his establishment of the main melodies was always the best.) Innocuous and memorable mostly for that drum machine! (8.75/10)

3. "Dreamy Eyes" (4:18) a replication and variation on the successful "I Only Feel Good with You" sound palette and motif from the end of his prior album, Cosmic Messenger. But, heck! If it's a formula that works, why not?! Joaquin Leivano's choice for guitar tone is much preferred here--it allows his smooth runs to sound much more connected and flowing. (8.875/10)

4. "Beach Girl" (4:56) a lively, fun, almost Country-Disco composition in which the acoustic instruments are quite a nice change (violin, acoustic guitar, piano). I'm not sure if it's Jamie Glaser or Joaquin Lievano that has the smooth EARL KLUGH/AL DI MEOLA-like touch and facility on the steel string acoustic guitar, but it's nice--a little reminiscent of Daryl Stuermer's play on the similar "New Country" from Jean-Luc's 1976 classic, Imaginary Voyage (right down to the foot-stompin' beat). An awesome violin solo in the fourth minute only seals this as a J-L P classic. (9/10)

5. "Taste For Passion" (5:22) great solo piano motif (played by Jean-Luc, not Allan Zavod) opens this one before the power switch for the whole band is turned on at 0:37, bringing in a cool, rather deceptively slow-paced motif into play over which Joaquin Leviano's electric guitar is given the first crack at impressing (and impressive it is!) The structure and sound palette of the "meat" of this one is once again reminiscent of one of the songs off of Jean-Luc's previous album, Cosmic Messenger. (9/10)

6. "Life Cycles" (5:45) Jamie Glaser is given the lead guitar position once again over a very pop-oriented groove--one that could very easily have come from a Soul/R&B hit from the same era by the likes of Bobby Caldwell, Earth, Wind & Fire, or Narada Michael Walden. Nice tune. Cool engineering of Casey Schueurell's awesome Phil Collins-like drum play. Allan Zavod finally gets some "me time" with a cool synth sound in the second minute. Everybody seems in sync--as if they're all really enjoying this one--even Jean-Luc's solos project a kind of joi de vivre. (9/10)

7. "Reminiscence" (1:26) one of Jean-Luc's little sound experimentations--this one with a couple of bombastic rock 'n' roll power chords in the middle to punctuate its cinematic value. (4.375/5)

8. "Give Us A Chance" (3:02) another song that seems to pull some inspiration from the music that was making itself known on the pop charts at the time--which means the structure and play is fairly simple and straightfoward--but this allows for these uber-talented musicians to carve their own idiosyncratic initials into it--which is especially nice from Ralphe and Casey. A very likable song. (What's not to like?) (8.875/10)

9. "Obsession" (0:40) I'd say so! Really: what's the point? (4.25/5)

10. "Farewell" (3:06) smooth and emotional construct for piano, bass, and lead violin turns to the piano (Jean-Luc playing, no doubt) for a pretty solo riff as a bridge to a funky motif with Jean-Luc in the lead while Ralphe and Jamie provide the funk behind. The song really only amounts to another filler--not much longer than one of those interlude thingies (songs #7 & 9). (8.875/10)

Total Time 39:55

While there is some very good meat on this album, a lot of it feels like "unfinished" filler or easy repetitions of previously explored palettes and motifs. Was J-L in a hurry to get this one out? Had he been touring too much and had little time for composition? Or was Atlantic Records just putting pressure on him to get something out soon after his hot-selling Cosmic Messenger (which spent 28 weeks on the Billboard album charts, peaking at #38--his third charting LP in a row)?

B+/4.5 stars; a near-masterpiece of borderline Third Wave and Smooth Jazz that was very popular in its time (and still stands up well today). If it weren't so scattered and feeling unfinished, this probably could have been another masterpiece.

FunkFreak75 A new, entirely American lineup supporting Jean-Luc for this, the first of his long association with Atlantic Records. Consequently, the sound of these songs is the first in the true entry to Third Wave Jazz-Rock Fusion. (Remember: in 1975 anything was possible!)

1. "Upon The Wings Of Music" (5:26) now here's the patented J-L Ponty sound! Thanks to bassist extraordinaire Ralphe Armstrong, the amazingly versatile (and grossly under-appreciated) keyboard player, Patrice Rushen, Jean-Luc's sound is richer, funkier, and way more modern than the electrified attempts he made on previous albums. But, hey! It's all about evolution--the willingness to try new things, adapt, and change, right? Great slap-funk bass from Ralphe with solid drumming from Ndugu. (9/10)

2. "Question With No Answer" (3:29) piano with multiple tracks of violin (a trick Jean-Luc would persist in trying and perfecting by the time Cosmic Messenger and Individual Choice roll around). Some of the violins are more effected than the others, some sounding almost acoustic. Patrice Rushen's bluesy piano provides the absolute perfect support for Jean-Luc's display of multiple personalities, but the addition of the electric bass and drums (mixed far too forward and loudly) is a mistake as their melody-making and rhythmic add-ons only distracts--especially in their total redundancy. (8.75/10)

3. "Now I Know" (4:27) slow and bluesy with a near-C&W ballad-like feel to it, the treated electric violin is very much in line with the sound that will dominate Jean-Luc's albums and music for the next decade. Nice laid back work from the rhythm section, even when Patrice steps up for an electric piano solo in the third minute. But the highlight is Jean-Luc's Violectra and synthesizer use--a first (as far as I know). Cool stuff! (8.875/10)

4. "Polyfolk Dance" (5:12) yes, it's based on folk melodies, but the sound and pacing is all RETURN TO FOREVER--especially due to the presence and very up-front and center contributions of guitarist Ray Parker, Jr. I also love Patrice Rushen's fluid, free, and floating electric piano play between everything that the leads and rhythm section are doing. At 1:45 there is a surprise shift not only to a different road and speed but to a completely different vehicle! The opening was like riding in a van whereas now we've switched to a sports car. Several more tempo and motif switches occur fairly quickly, all the while Ralphe and Ndugu remain locked in while Patrice remains totally lax and fluid. Really cool teamwork! While nothing that Ray (or the other guitarist, Dan Sawyer) does is mind-blowing or innovative, he does a wonderful job of keeping up with and, often, matching melody lines with Jean-Luc. (9.25/10)

5. "Waving Memories" (5:43) solid Third Wave Jazz-Rock Fusion with some elements and motifs entering the realms of Jazz-Funk and Smooth Jazz. The main detriment to this song, despite its stellar performances, is the lack of defining melodies and sometimes disparate sound stylings that don't always mesh together so perfectly. (8.875/10)

6. "Echoes Of The Future" (3:09) heavily-treated/delayed & echoed synth violin partnered with heavily-treated muted guitar and deep synthesized violin washes. Though there might be guitar and keyboard synthesizer present, I suspect (knowing Jean-Luc's "I can do everything" penchant) that it's all multi-track stuff coming from his violins. It is, without question, however, pretty cool; a precursor to Cosmic Messenger's amazing opening title song. (9/10)

7. "Bowing Bowing" (4:53) nice four-chord vamp sound palette over which Jean-Luc and Patrice take turns soloing with their weirdest synthetic sounds. Even Dave Sawyer gets some time near the front as he mirrors and provides harmonic accompaniment to Jean-Luc's melody making with his electric guitar. Glad Jean-Luc finally gave the dude some exposure. Nice tune. (8.875/10)

8. "Fight For Life" (4:34) opens like some kind of wah-wah-ed ZZ TOP or LED ZEPPELIN song with a three-chord vamp set in place from the first note to support Jean-Luc and Ray Parker, Jr.'s solos. Unfortunately, Ray's solo in the third minute is way too distorted and flanged down. Then around 2:40 there is a very weird sudden gradual speed up--as if the 1950 Ford Fairlane's pedal is put to the metal. Once top speed has been achieved Jean-Luc really flies--like a hungry swallow--while the rhtyhm section holds super tight beneath. A weird song that has some truly awesome parts and some parts that leave me scratching my head. (8.875/10)

Total Time 36:38

B+/4.5 stars; an excellent near-masterpiece of prime Jean-Luc Ponty music--the first to achieve that signatory sound that he would master for the next 20 years. There are, however, still kinks to work out--which makes sense since Jean-Luc has an entirely new entourage of collaborators and a brand new record company. But, the gate is open for his incredible run of 15 years of masterful albums.

FunkFreak75 A gathering of giants: all Ponty compositions performed in a genuine, fully-electrified Jazz-Rock Fusion style and sound.

1. "Bowing-Bowing" (6:28) right from the get-go the sound palette of this band (and recording) has much more in common with the Jazz-Rock Fusion mainstream than Jean-Luc's previous albums. The sounds, structure, chords and melodies all have the warm feel of a peak-era Jean-Luc Ponty composition. Great support from all of the support crew--especially Tony Bonfils on electric bass--though Maurice Vander's piano is almost saccharine suite and André Ceccarelli's drum play is mixed too far in the back (and he plays much harder than is necessary). (9/10)

2. "Golden Green" (4:42) the melodies explored by Jean-Luc and Stéphane here feel like something from a stage musical: they're quite swinging and sweeping and melodramatic in that oh-so romantic way. Quite a lovely uptempo song. (9.25/10)

3. "Memorial Jam For Stuff Smith" (6:54) Stuff Smith was a pioneering jazz musician--a violinist--who also recorded at Hans Georg Brunner-Schwer's studio in the Black Forest but who died a few years before this recording--and artist that both Jean-Luc and Stéphane had worked with. The music is great with more traditional cabaret & stage musical styles being used by all of the instrumentalists. Though there are electrified instruments being used, they sound more like a modern "rock orchestra" in a pit in front of the stage supporting the stage players. Some really nice solos and play here, and even some cool tempo and motif shifts. (13.5/15)

4. "Violin Summit No. 2" (9:56) Shaft-like cymbal play, funky bass and electric piano, and electric guitar "power chords" support the soloing of the two violinists. But then around 1:28 Philip Catherine's blistering electric guitar run signals the band to switch into more of a Soul/R&B rhythm pattern for the motif to support Stéphane's upcoming solo. At 3:19 everybody makes way for Philip to again assert himself with some dirty/raunchy electric guitar soloing. His tone is very much akin to something Ernie Isley is using in his 3 + 3 solos. At the five minute mark Jean-Luc shows up with his fully-electrified and wah-wahed violin for some solo time. The band's R&B funk beneath is so fluid and engaging--and Philip Catherine's lead rhythm guitar play just beneath Jean-Luc is wonderful! Philip's rockin' chord play takes us out of the electric violin solo and then sets us up for what turns out to be an unusually long (for Jean-Luc) solo is given to drummer André Ceccarelli in the eighth and ninth minutes. (90 seconds!) The band then returns to the opening motif for the final 90 seconds. Now this is some great First Wave Jazz-Rock Fusion! (18.75/20)

5. "Valerie" (7:00) a very swinging electrified jazz tune--there's almost a Latin/Smooth Jazz quality to the rhythm pattern--while Stéphane, Philip, and Jean-Luc share the introduction of the lead in a three-musician weave over the first minute. Maurice and Tony are great with their electric piano and electric bass, keeping the song moving at a very nice country-road cruising speed for the light and fresh air solos being expostulated by the trio up top. Again, this is very evolved "First Wave" Jazz-Rock Fusion: some of the first to sound like so much of the Smooth Jazz fare that will take over in the second half of the decade. (One more time I get this distinct, nagging feel that Jean-Luc has "borrowed" someone else's melody to build his song over.) (14/15)

Total time 35:00

After hearing the MPS-produced previous to this one I must admit to being (pleasantly) shocked at the music on this album. At the same time, I'm glad Jean-Luc was able to try out a more loose and dissonant jazz-rock (and get it out of his system) with 1972's Open Strings, but I am quite grateful to hear the more melodic and elegant music here on this album that will become his trademark over the next 20 years. I'm also quite curious to know what 65-year old Stéphane Grappelli thought of the music he was being asked to participate in creating as it must have been quite different from anything that he'd done before. Also, this album contains some of the most impressive Philip Catherine play I've ever heard. And who is and whatever happened to Tony Bonfils?

A-/five stars; a fresh and wonderfully upbeat minor masterpiece of top-notch whole-band performance of First Wave Jazz-Rock Fusion. Highly recommended to any and all lovers of J-R Fusion.

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.

FunkFreak75 This was the first of Jean-Luc Ponty's true jazz fusion masterpieces (though many will argue on behalf of Aurora and Imaginary Voyage). It's funky (as was the soft jazz of the time) and well displays the virtuoso talents of several of its young contributors--including super guitarists Daryl STUERMER (just before he left to take on a life-long GENESIS/PHIL COLLINS gig) and Allan HOLDSWORTH, bassist-extraordinaire Ralphe ARMSTRONG, keyboardist Allan ZAVOD, and drummer STEVE SMITH. Many place their attention on the title suite but I've always found that I much prefer both "Mirage" (4:23) and "Nostalgic Lady" (5:24) to the two suites--both of which put on display much of the electronic effects that will become Jean-Luc's signature sound(s) for years to come as well as this groovy, almost dreamy rhythm structure and pacing. This is a pretty great album, but I still hold strong in my feeling and belief that Ponty's best album is the next one, Cosmic Messenger with Individual Choice being his second best--these two having, IMHO, much better sound production than Enigmatic Ocean.

1. "Overture (0:47) great intro/opening. (4.75/5)

2. "The Trans-Love Express" (3:56) great groove with everybody clicking and in sync. Nice sound engineering--though the keyboards sounds will be better in the future albums. (8.875/10)

3. "Mirage" (4:54) hypnotic and beautiful--especially the sound of Jean-Luc's heavily-effected electric violin. (9.25/10)

4. "Enigmatic Ocean" Part I (2:20) synth and percussion opening to which Jean-Luc and, later, the rest of the band are added. The establish some fair groundwork for the suite (4.375/5) Part II (3:35) a fast pace does not guarantee a great song: technical skill is certainly on display, but melodies are certainly lacking. (8.875/10) Part III (3:43) the funky side, of course. Daryl's work on rhythm is exemplary. Allan is beyond reproach. (9/10) Part IV (2:24) a nice closing to what never really felt like a suite of connected movements. (8.875/10)

5. "Nostalgic Lady" (5:20) another beautiful song with great melodic sensibilities expressed from Ralphe, Allan and Jean-Luc. (9.25/10)

6. "Struggle Of The Sea Turtle" Part I (3:32) one of the most purely perfect and original of Jean-Luc's songs here. Perfect balance between the band members. (9.5/10) Part II (3:33) using some of the melodic hooks of "Part I" the band chugs along--interestingly, at a variety of speeds. Steve Smiths best drumming on the album. (9/10) Part III (6:05) opens with Ralphe's coming out party. Then Allan gets his turn with a weird synth. Daryl gets a solo but is then followed by Allan--who is so smooth and amazing it makes Mr. Stuermer look amateurish--which is sad cuz he is not. And the the song--and the album--just suddenly fades out! It's over! And it makes no sense! (8.875/10)

Total Time 45:00

A-/five stars; a minor masterpiece of proggy jazz-rock fusion. The album has some great individual performances but lacks the amazing flow and sound engineering of the next album.