DEDALUS — Dedalus (review)

Album · 1973 · Fusion

4/5 · 2024-10-11
FunkFreak75

A great, amazingly well-produced Canterbury-oriented jazz album. (from my 9/22/13 review on PA:) Presdoug is right: This is an album that deserves much more attention and recognition than it has (thus far) received. The other reviewers aptly cover the comparable bands though some of the uses of electronics reminds me of a less-avant DEODATO, too. Everyone seems to want to give Soft Machine or Weather Report credit for the style and sound of this band, but I think this group has far superior planning and less jamming, plus the instrumentation sounds are often quite different (the keys' sounds are much more diverse than Ratledge, more strings-oriented than Zawinal & Co.) Also, the guitarist sounds much more "straightforward" jazz, not at all like John McLaughlin (to me). I love the combination of the Coltrane, Freddy Hubbard/Chick Corea and Eumir Deodato feel of "C.T. 6" and the beautiful "Leda" and "Brilla." Side 2 definitely feels more jazz-oriented than Canterbury or Avant/RIO to me.

1. "Santiago" (9:13) driven by a great bass line and some solid rhythmic support from keys and drums, the sax and electric cello get most of the solos on this long, very well produced jam. The spacey electric cello begins a solo in the middle of the song, allowing Fiorenzo Bonansone the chance to display the experimental use of the echo and sustain effects he's plugged into. This solo plays out for the remainder of the song--about five minutes worth. Reminiscent of some of the electronic sound experiments released on albums by CHICAGO, PINK FLOYD, or JEAN-LUC PONTY. (17.75/20)

2. "Leda" (4:30) an unexceptional first half yields to an amazing second half with simply stunning work from the Fender Rhodes. (8.75/10)

3. "Conn" (3:48) an oddly discontiguous intro opens this one for the first minute before a fully formed jazz tune is spliced in and played out for the next two-and-a-half minutes. (8.5/10)

4. "C.T.6" (14:02) the truest jazz song on the album, this one could have come straight from an RTF or Freddy Hubbard album. There are several sections, each with their own groove, pacing, melodic structure, and familiarity, from flourishes of John Coltrane, Thelonius Monk, Deodato, and Herbie Hancock. Nice Jerry Goodman-like play from the electric cello in the tenth minute. Not a prog song, this is an excellent jazz song, filled totally with jazz solos, jazz scales, and jazz drumming. (28/30)

5. "Brilla" (5:39) drums, bass, and beautiful Fender Rhodes play support to a gorgeous and sensitive solo saxophone in the lead . . . for the first 1:23. Then things stop, change directions, pick up speed, and shift into electric cello and fast-walking bass mode. Lead instrument switches to electric guitar and then back and forth, sometimes together, until 4:45 when we turn back onto a Coltrane-like sax-led "easy street," familiar to us from the opening section. (9/10)

Total Time: 37:12

For now I'll give it four stars--especially as I'm not sure how "proggy" this is--despite the avant use of space, electrified strings, and diverse keyboard sounds. Maybe further familiarity will cause it to climb to masterpiece status. I will add that it has incredible engineering/production for its time!

It is quite remarkable how narrow the window of productivity was for the artists of this amazing nation and yet how bright these stars shine. Also of interest to me is how these artists most typically produced only one, maybe two, album forays into the "experimental" fad that was progressive rock--again, a testament to how small the window of "popularity" this musical movement had. As a matter of fact, only five of the bands recognized in this list of masterpieces from the "classic" RPI period of 1971-1975 had more than two albums under consideration (PFM, Le Orme, Banco, Area, and Oliver/Cherry Five/Goblin).

B+/4.5 stars; a of jazz-rock fusion.