Bjorn J:son Lindh - Cous Cous. 1972 Metronome Sweden (LP). Collection revisit (Oct). Mostly an easy listening jazz flute session, with two tracks referencing the Middle Eastern album title. Some tasty fusion moments with Jan Schaffer providing the electric guitar. Nice album though nothing here to elevate to the next level.
*Maynard Ferguson - Primal Scream. 1976 Columbia (LP) (1976). Flea market find from a local friend (Oct). Not long after I acquired Conquistador in high school, I ventured deeper into Ferguson's catalog and purchased Primal Scream. In reflection I may have bought his two best albums, using nothing more than my instincts at the time. As with Conquistador, I didn't give my music palate a chance to expand, and ultimately parted with it by the time I reached college. In my first revisit since (41 years?), I hear this album as nothing short of great. Plenty of deep grooves to back up Ferguson's impressive lineup of jazz A-listers. I really appreciate the jazz funk cop show-ish 'Invitation', a track I was recently reminded of from Jaco Pastorius (of all artists). Nostalgia + great music = a long residence at Casa UMR. I'd put Ferguson in the same category as Sergio Mendes and Deodato: Regular thrift shop records that belong in your collection.
Kraan - Let It Out. 1975 Spiegelei (LP). Collection revisit (Sep). A much more generic funky jazz fusion than I had recalled from my initial listen. Certainly not unpleasant but not distinctive either. 'Die Machine' is an out of place motorik styled Krautrock piece and yet it's the best track here. Well produced and played, but I think I can let this one go. Pity as it's a perfect mint German original.
Herbie Hancock - Crossings. 2001 Warner Bros. (CD) (1972). Collection revisit (Aug). There are certain albums in my collection that I really want to like and Crossings is one of them. From the idea, sound, album cover, and spirituality - Crossings offers everything I enjoy about this kind of jazz. Except I don't connect with it. When an album is based on this kind of emotion and lacking in the composition department, that connection then becomes germane to the entire appreciation of the performance. Why we relate to some albums and not others is a discussion and discovery for deeper study. But reputation alone does not have me keeping this.
Oliver Lake - NTU: Point From Which Creation Begins. 2019 Freedom/Muzak (CD) (1976). Online acquisition (Aug). Well.... I tried. It was advertised as "spiritual jazz", which oftentimes is a softer way of saying "free jazz". I was hoping for something more than grating noise and mindless improvisations. And there were some friendly moments here, especially A2. I know what spiritual jazz means to me, and this ain't it. I wasn't elevated in the slightest. Rather I was annoyed. Not for me. Being the eternal optimist that I am, this will go down as a "good investment". Similar to Motley Crue in that way...
Maynard Ferguson - New Vintage. 1977 Columbia (LP). From the Showrunner's garage sale (Aug). I've been in the mood for big band jazz funk of late, and Maynard Ferguson was one of the leading lights in this area. I'm familiar with most of his output from this era, including the excellent Conquistador and Primal Scream (see above), but this is one title I missed. And I can see why now. Fairly generic with the usual mix of covers, disco, and stage band. Misses the vibrancy of his best work.
Noa - Journey to Babel. 2020 Arcangelo (CD). Collection revisit (Aug). Noa are one of those obscure Japanese bands that have been around for 35+ years but few know who they are. In this case, the group released the gone-before-anyone-knew-it-existed Tri-Logic back in 1987, only to return in 2018 and release three albums... that no one seems to be aware of. The music sits in the middle of jazz and prog rock, a bit like Kenso, weighing more towards the fusion side. The lack of "analog color" instruments creates a more one-dimensional perspective. The synthesizers sound dated even by 80s standards, and misses the warmth of earlier creations. No flute, sax or anything else to soften the guitar and keyboard brashness. The guitarist is very talented and does a fine job of keeping his solos in the melodic realm. A fine album, but I've heard it done by too many others for me to take much notice at this point.
* - Keeping for the collection
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