FunkFreak75 After eight years in the think of the foundation and development of Jazz-Rock Fusion, Miroslav apparently felt it important to "prove" to critics that he could play/do funk (which had become all the rage since Herbie Hancock's Head Hunters and Thrust albums in 1974 and 1975, respectively. So, who better to help him out than the jazz-funk-master himself!

Line-up/Musicians: - Miroslav Vitous / bass, guitar [360 synth], synthesizer (MiniMoog) - James Gadson / drums (A1, A2, B3, B4) - Airto Moreira / percussion - Jack DeJohnette / drums (B1, B2) - Herbie Hancock / keyboards (Fender Rhodes, clavinet, synthesizers [Arp Odyssey, Arp String Ensemble, MiniMoog]) - Cheryl Grainger / vocals (A1, A2, B2, B3, B4) - Onike / vocals (A1, A2, B2, B4)

A1. "Basic Laws" (11:46) two female vocalists open this with some celestial chanting accented by bass notes and weird synthesizer sounds. At the 90-second mark the song funnels into a slow-tempo funk tune with clavinet, bass, congas, drums, and guitar and synth incidentals. The rhythm section remains totally constant while the vocalists, guitar noises, and synth noises play a bit over the top (far less than one would imagine). An occasional key shift seems to add impetus to try new things--especially the one at 6:30--and it does but not really enough. Still, as a funk song, this one has it. Whispered vocals repeating over and over "it's rhythm" join in for the ninth and tenth minutes but then slip back into the background celestial heraldry in the eleventh as the music thins out a bit (while remaining totally committed to the funk). Then it fades out. (22.5/25)

A2. "New York City" (9:32) a more up-tempo, near-disco tune from the first note with very funky wah-wah-ed clavinet and Fender Rhodes (Herbie at his very best!). Vocalists make their first appearance, briefly, around the one-minute mark and thereafter become like curious alien beings making background commentary (a previewof Newcleus' "wicky, wicky, wicky"?) The keyboard work in the third minute makes one think of Michael Jackson's "Wanna Be Startin' Something." The changes and variety of offerings make this one a real pleaser (despite the near-disco beat). And, yes: Miroslav can play funk! But, this for whatever reason, this is Herbie's song to shine on--even rivaling Billy Preston's "Space Race" in places. The shift into spacey dreamland in the seventh minute is very cool--very engaging--really giving Miroslav and Herbie room to show of even more of their keyboard and (for Miroslav) guitar ideas. (18.75/20)

B1. "Synthesizers Dance" (5:09) a syncopated more WEATHER REPORT-like attempt at funk: more spacious and less groove-oriented. Even the sounds being generated for lead instrument sounds are kind of off the wall--like something Parliament funkadelic would explore. Lot's of instrumental flare being shown off from multiple musicians here (and especially Miroslav)--which raises the interest/intrigue factor significantly. Good jazz-rock fusion. (8.875/10)

B2. "Magical Shepherd" (6:09) horn like call opens this before bass and Rhodes join in with lots of percussive noise from both Airto and Jack DeJohnette. The lady vocalists are back, this time singing in tandem, singing like a church or Broadway choir. It's actually kind of cool! And the music on top is interesting. At the end of the second minute there is some smoothing out of the basic music, almost committing to a set structure, then, just as you're getting used to it, things shift again into something more jazzy, less committed to linear flow (sounding a little like some of Larry Coryell's brilliant, but chaotic, ideas). Guitar soloing ensues as Herbie and Jack play off of one another with some fun recklessness. Vocals return at the five-minute mark to give the song a kind of celestial stamp of approval into the finish. This one is not a funk song; it is jazz-rock. It is, however, very interesting--definitely worth repeated listens. And the song one which I like the effect of the female vocals the best. (9/10)

B3. "From Far Away" (2:30) a song built around Cheryl Grainger's jazz vocal. Airto and Miroslav's synth bass, Arp, wah-ed rhythm guitar, and Arp strings (no Herbie on this one). Feels like an étude or interlude--definitely an ude. (4.375/5)

B4. "Aim Your Eye" (6:57) a pretty decent funky jazz-rock fusion tune despite the weird background female vocal chants and weird synth "saw" guitar chords! (13.375/15)

Total Time: 42:06

Another case in point to my argument that Jack DeJohnette--as extraordinary a drummer as he is--is not a funkster. I have the feeling that getting Jack to play funk was like asking Bill Bruford to play straight time (or, for that matter, funk!)

A-/five stars; a minor masterpiece of Jazz-Rock Fusion: one that is consistently of very high compositional and performative standards but does little to really excite or push boundaries. Also, an album that presents two rather strikingly different faces: the funk side with Herbie Hancock, Airto Moreira, and drummer James Gadsen, the other with jazz-stalwart Jack DeJohnette and funk-less Miroslav steering the rest of the musicians toward more jazz-traditional and Jazz-dominant (yet experimental) Jazz-Rock Fusion. Recommended to all Jazz-Rock Fusion enthusiasts. If anything, the performances of these top notch musicians might be worth it all on their own.

FunkFreak75 This childhood friend of Jan Hammer had made the move to the United States after winning a scholarship to the Berklee College of Music in 1966. After a stint with flugelhorn pioneer Clark Terry in Chicago, he matriculated to New York at the invitation of Miles Davis in 1967 where he met Herbie Mann with whom he recorded two albums--one that was to come after this. Infinite Search was recorded on October 8, 1969, with Herbie Mann producing. This January publication was one of the first releases of Herbie Mann's new label, Embryo Records. The album is also remarkable for bringing on board four of jazz-rock fusion's hottest fairly-young phenoms in John McLaughlin, Jack DeJohnette, Herbie Hancock, and Joe Henderson.

A1 "Freedom Jazz Dance" (10:54) a basic show of fiery bass and drum skills with a notable display of unhinged guitar pyrotechnics in the sixth and seventh minutes. Despite the electrified contributions of Herbie Hancock and John McLaughlin, this music is still well inside the realms of what I'd call jazz. (17.5/20)

A2 "Mountain in the Clouds" (1:51) more display of Miroslav's youthful exuberance (he was only 22 when this album was recorded) with matching support from Jack DeJohnette. (4.375/5)

A3 "When Face Gets Pale" (7:38) a much more melodic and soothing dynamic from more processed (electric) sound palette, both Herbie and John softly and beautifully dance around on the wings while Miroslav sprints his seven and a half minute marathon. The drums remains more in the background while Joe Henderson doesn't even make an appearance. A much more pleasant listen than the previous two songs but I am still pretty surprised at the speed with which Miroslav thinks he needs to move in order to express himself. A top three song for me. (13.5/15)

B1 "Infinite Search" (6:49) slowing things down even further--even Miroslav himself!--Jack even relegating himself to brushes--it is Herbie's excellent, dreamy chord play that I most love about this song--though I do enjoy Miroslav's bass play when it's at this tempo: he's quite melodic in his play. Fascinating how John McLaughlin--the John McLaughlin--can discipline himself to sit in the background playing two notes over and over! But, I guess that's what the song calls for. Once again there is a notable absence of any saxophone. A top three song, for sure. (13.75/15)

B2 "I Will Tell Him on You" (11:00) sax and bass present the main melody near the start while everyone else tries to support, but then Miroslav takes off: racing toward some finish line that nobody else can see. Jack DeJohnette does the best at feeding off of the bassist's unbound energy but Herbie is also well-matched in his support. Joe Henderson and John McLaughlin don't get to spend enough time on the front lines, but are also up to the task when asked to join in--in that frenetic fifth minute, for example (Go! Jack!) And then, for John, the sixth and seventh (in which Miroslav is amazingly restrained despite still speeding along on autodrive). Herbie's solo in the eighth minute sounds so much like mice scurrying over the floor on their nighttime escapades, then being interrupted by the pouncing cat. Even Jack gets some spotlight in the ninth and tenth minutes. This song must have been the reward everyone received for showing up for these recording sessions. When everyone comes back together at the end of the tenth minute it is to recapitulate the melody themes of the opening minute. Good though still quite "traditional jazz" in both form and style. (17.5/20)

B3 "Epilogue" (6:57) a gentle, atmospheric closer. With jazz and jazz-rock fusion I am not always such a sucker for the slow and spacious songs or passages, but there is something quite arresting to Miroslav's melodies and the band harmonic constructs that I can really pick up on during these slower passages--something that penetrates deeper when there is space and time with which to process and let them reverberate and resonate. My other top three song. (14/15)

Total Time:

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

FunkFreak75 Recorded in New York City on August 25, 1970, under the supervision and production of Miroslav's current bandleader, Herbie Mann. Herbie had just started his own music production label, Embryo, and here acts as both producer and distribution agent for this, 23-year old Miroslav's second record as a bandleader. Of the four hot-shot 30-somethings that participated in Miroslav's debut solo album nine months before, only John McLaughlin returns (and he only for one song).

A1 "Purple" (9:40) Billy Cobham's drums are so attention-grabbing that one forgets to listen to Miroslav's bass--which is supposed to be the lead instrument. Even when Billy is only playing rims and light toms (while Joe and Miroslav duet and duel) he is still mesmerizing. (Perhaps it's the way he's mixed: so forward and mostly on the left.) Still, Joe and Miroslav are both mighty impressive throughout. (This might be one of the more impressive Joe Zawinul performances I've heard--though it took two tracks of the electric piano to do so. I like it!) Billy's just putting on a show. (How can the others not want to just stop and watch in awe and wonder?!) Miroslav returns to bowing his double bass in the eighth minute (preparing us for Stanley Clarke). Great stuff! And not just for the phenomenon that was the young Billy Cobham. (He was 26 at the time of this recording). (18.5/20)

A2 "Mood" (7:34) Billy's on brushes for the opening of this one as Miroslav and Joe establish a soft, plodding pace with their calm spacing of their notes and chords. Miroslav picks up the bow to issue the first plaintive tones of melody and then Joe gets a turn to respond--just like a relaxed conversation over a bottle of red on a late-night couch review of a couples' day. The like attunement between the three artists throughout this song is really something to behold. A veritable masterpiece of three artists being mentally and spiritually "synched." (15/15)

B1 "Water Lilie" (8:57) the song opens with some quiet, spacious yet-very pregnant interplay between the three musicians (Miroslav, Billy and John McLaughlin) with Billy merely holding a beat on his hi-hat while the John plays around with some amazing chord selections (some of which was heard on Tony Williams' first Lifetime record [in "Vashkar"] and some of which will be heard in their different states of evolution on his first Mahavishnu Orchestra albums). Miroslav is triple-tracked with electric bass, bowed double bass, and electric piano all playing within the same areas of the song. How interesting to have John's guitar chord play vying for attention with all three of Miroslav's instruments. I wonder how this was recorded: Did John have the benefit of playing with any of Miroslav's tracks--live or recorded? Unfortunately, the song is more interesting for trying to follow/predict each of its five nearly-independent feeling tracks. Fortunately for me, the listener, Señor Cobham is never unleashed so I am able, therefore, to pay close attention to the work of McLaughlin and Vitous. (18/20)

B2 "Dolores" (4:10) recorded rather differently than the first three songs: with both drums and bass rather quieter or back further in the mix--the band is down to a duo now, but Billy Cobham and Miroslav have more than enough to offer on this Django Reinhardt-like jam. I love the way Billy's cymbal work matches all of the vim and verve that Miroslav puts into his bass and then the toms fill the spaces where Miroslav rests! Excellent entertainment. Too bad there wasn't anything as memorable as the album's opening song. (8.875/10)

B3 "It Came from Nowhere" (5:18) Another "quartet" with Billy Cobham delighting and impressing on his drum kit while Miroslav plays electric bass, bowed double bass, and a pretty impressive electric piano. Tbis one feels a little less finished, more haphazhard and uninspired (especially from Billy) than Side One's songs. (8.75/10)

Total Time: 35:39

This album may be where I find my favorite work from Joe Zawinul. The trio especially seem to have an incredible rapport and ease with one another as I've never heard Miroslav feel this much "a part" of an organic whole--though for three of the songs it took three tracks of his own expression to accomplish. Still, a very impressive album. I'm sure Herbie Mann felt no surprise (or misunderstanding) when Miroslav left him to fly off in another direction (to Weather Report) after their next album together.

A/five stars; a minor masterpiece of Jazz-Rock Fusion featuring four artists reaching the absolute peak of their powers (but not yet fully aware of such). This album came as a real surprise to me; it is definitely one of the early masterpieces of this new style of musical expression.

Steve Wyzard NOT WHAT YOU WANTED

Let me begin by saying this is a very good album and worthy addition to your Miroslav Vitous collection. That being said, it also needs to immediately follow that this is NOT an early-1970s throwback album. Fusion fans must have foamed at the mouth when this was originally released and they scanned the line-up of musicians. So what do we actually have here?

Only 2 of the 5 names appearing on the front cover play on all 9 tracks: Miroslav Vitous (bass), and Jack DeJohnette (drums). Both of their performances throughout are outstanding, with "Medium" being a viciously driving duet. John McLaughlin, in only his second appearance on the ECM label, appears on only 2 tracks: "Univoyage" and "Faith Run". His understated contribution to the latter is much more substantial than that on the former, and on both songs, he only plays acoustic guitar. Chick Corea (piano) performs on 3 tracks: "Univoyage", "Sun Flower", and "Miro Bop". Jan Garbarek (tenor sax) plays on 7 of the 9 tracks (with 2 co-composing credits), making this album much closer to a trio album with special guests than a quintet album. "Bamboo Forest", "Beethoven", and "Brazil Waves" feature only the trio. The 5 players, in fact, only appear together on "Univoyage".

The most controversial aspect of this album is the inclusion of a brass trio (trumpet/flugelhorn/trombone) on "Univoyage", "Tramp Blues", and "Faith Run". This ensemble adds light background touches and sound effects here and there, and a punctuation phrase every now and then. These contributions don't ruin the album or overly clutter the sound, but one wonders why they are there at all.

So if you were looking for a 21st Century Mahavishnu, composed and recorded 30 years after their glory days, you've come to the wrong place. Universal Syncopations is one of those albums that will always live in the shadow of what it could have been, and what listeners may have been expecting from these players. Which is a shame, because it's still a very good Miroslav Vitous album, in spite of who is and isn't playing.

snobb Bassist and composer Miroslav Vitous (originally - Vitouš)is beside of keyboardist Jan Hammer most significant Czech jazz artist of last four decades. US-based from 1966,his first recording (as collaborator) was almost classic Chick Corea's "Now He Sings, Now He Sobs", from 1968 to 1970 he played as Herbie Mann's band bassist.

Recorded in New York in fall 1969 (and Herbie Mann's produced) his debut solo album is good example of progressive fusion atmosphere of that time and place.Musicians participated on these recordings all are future stars including (still "Mahavishnu") John McLaughlin, Herbie Hancock, Jack DeJohnette, sax player Joe Henderson and second drummer Joe Chambers. An year later Vitous will co-found unique guitar-less fusion band Weather Report, and what is recorded on "Infinite Search" could be counted as blueprint of his future fusion vision.

Five of six compositions are Vitous originals (probably here lays main album's problem for many listeners - from here for years his compositions are very often too bulky,open-ended and frame-less and as a result often sound unfinished). This album could be hardly evaluated out of time and place, and to say truth it sounds more interesting than great. Open ear listener can find here some ideas which later will be developed not only by Weather Report, but in Hancock's and McLaughlin fusion recordings as well.

Almost unnoticed at the time of release, this album was re-released on the wave of fusion popularity by major label just two years later (under the new title "Mountain In The Clouds", Atlantic,1972, with one additional song),but never received big success. Vitous himself being one major name in world fusion movement never was very successful with his solo releases as well. Often counted as Vitous most important solo release, "Infinite Search" is valuable evidence of fusion early years, it's significant Vitous will return to its spirit (partially with same collaborators) on his 2003 album "Universal Syncopations" after more than three decades.