2026 Fusion / Jazz Journal Vol. 2

Weather Report - Heavy Weather. 1997 Columbia Legacy (CD) (1977). This is Weather Report's most known and best selling album, one that I never truly connected with. Of course all copies I've found prior were commodity LP pressings, and usually in VG condition, which can be distracting. The 69 cent bin comes through again with this wonderful looking CD. Let's see if my viewpoint changes. The album opens with their trademark hit song 'Birdland'. This is a song we played when I was a stage band performer in high school. I didn't like it much then, and honestly, I still don't. It's too... happy I think. Something about it. The title is a misnomer as well, nothing heavy about the album whatsoever. My understanding is that Weather Report did not like to be associated with the fusion crowd, and of the albums I've heard, I have to agree with them. On Heavy Weather, the music veers closer to ECM, and even smooth jazz territory. If requested to choose a favorite track, I'd go with B2 or B4. I have yet to encounter a Weather Report album I feel compelled to keep, including their earlier avant garde works. But I'll keep trying, as I'm up for revisiting some as well as there's a few I missed altogether. (3/7)

Kenji Mori Quintet - Firebird. 2020 Craftman / Three Blind Mice (CD) (1977). I picked this reissue up a few years ago, and had a relatively high rating on it, though recall nothing about the contents. The album starts off like a psych work though quickly gets into some boppy sax. Not really my style. The second track is Nino Rota's 'Time For Us', a pretty track that Mori's flute gives the Lloyd McNeill treatment, if not too comfortable and predictable. This leads to the two part title composition. The rhythm lays down a deep groove while Kazumi Watanabe solos on the guitar and Mori responds on recorder and sax. Nothing particularly incendiary from either though. The second half gives us a sunnier tropical feel with similar solo results. A solid entry, not really kozmigroov, not pure jazz, not fusion, but elements of all the above. I think I rated it a bit high though. (3/2)

*Bjorn J:Son Lindh - Ramadan. 1971 Metronome Sweden (LP). It was only a couple of years ago I revisited Cous Cous from my collection and, while it was enjoyable on an easy listening level, decided to let it go. I bought Ramadan at the same time, and presumed that it would be similar. I hadn't heard the album since acquiring it 25 years ago. I was pleasantly surprised to learn that the two are very different. Ramadan is much more funky and even progressive at times. I've always enjoyed Lindh's flute work, and the key ingredient here is Kenny Hakansson on guitar. He of Kebnekaise fame. Unlike Janne Schaefer, Hakansson brings a psychedelic flair to the proceedings. Though I wish he had an opportunity to light it up more. Three of the eight tracks are more acoustic in nature and these are the middle eastern themed compositions. Otherwise it's a fine kozmigroov funky flute extravaganza. A bit surprised this album doesn't have that much cachet. It's relatively inexpensive despite never having been reissued on CD. Regardless, I'm definitely holding onto this. Features a nice gatefold cover as well. (2/25)

* - Keeping for the collection

2024 Fusion / Jazz Journal Vol. 4 - Complete

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.

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. 

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.

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.