2025 Fusion / Jazz Journal Vol. 1

John Klemmer - Blowin' Gold. 1977 Cadet (LP) (1969). I know Klemmer best from his perennial thrift shop buck bin album of Touch which is a landmark smooth jazz album, and quite boring at that. This is almost the polar opposite. Borderline free jazz though just enough cohesion for me to remain engaged. Pete Cosey's psychedelic guitar gives the album a real edge, and the atmosphere describes a dingy club somewhere in the older industrial suburbs of Chicago. Moody, dark, uncertain, and exciting. Miraculously I found this for a dollar as well, and the cover drew me in. Not sure if this is a long hauler yet, so I'll keep it in the journal for now. I have another one of his early 70s albums here, so we'll see how that goes. (Apr)

Jasper van't Hof - The Selfkicker. 1977 MPS (online). Jasper van't Hof is someone who shows up often in European jazz circles but remains somewhat obscure here in the States. I only know him from a Pork Pie LP I own and honestly don't remember much about it. I'll get to it for a writeup eventually. The Selfkicker is a very interesting release and it really isn't jazz fusion as you would normally associate the term with. It has just as much in common with electronic, sort of the same crossover territory we hear in the early ECM albums. His primary sidekick is guitarist Toto Blanke and we can here his solo works showing up as well. Even Focus's drummer Pierre van der Linden makes a cameo, along with a couple of Danish guys on rhythm. Side 1 is mostly introspective and recalls some of the French acts of the era. Side 2 starts off in funky fusion territory. It's clear van't Hof is enjoying his new toy - that of the PPG Synthesizer (original 70s analog version of course). He moves to piano recital after this as the album calms considerably down from here. Difficult album to assess as it's largely outside of my interest area in both genres attempted here: electronic and jazz fusion. The intersection seems awkward to me. This album remains without any kind of reissue. Not adding to the CDRWL because his catalog his huge and I'm sure there are others of which I'm not anxious to investigate. (Apr)

Ramsey Lewis - Don't It Feel Good. 1975 Columbia (LP). What was that I was saying about smiling guys on the cover? In any case here we have Ramsey Lewis looking at Herbie Hancock's success and saying to himself "I could do 'dat". "Maybe mix in some smooth soul to up my chances for great success." Bzzt. Covering Earth Wind and Fire's 'That's the Way of the World' is a clue. Funky fusion meets soul. It's a pleasant listen for certain but nothing stands out, and the album is over. I've had a few Ramsey Lewis works come through here, including his iconic The In Crowd, but these are my first notes. Not sure if he'll get a page, all I need is one album for me to keep. And I have another here so we'll see. (It was Salongo and nope). (Feb)

Charles Mingus - Tonight at Noon. 2000 Label M (CD) (1964). Garage sale find from last year. Always liked the Label M releases with what they call a Q Pack. The opening track mixes free jazz with more melodic fare. The remainder is more to my liking though it's pretty standard jazz to my ears. I do like that Mingus can sometimes set a nice groove with his bass. Doesn't seem to be one of his more revered albums, though its reputation is solid. I'm up for hearing anything by him at this point. Hope to find some of his LPs out there in the wilds. (Feb)

x - Gemini Soul - Live: The Liquid Soul Tour. 2007 Pearl Jazz (CD). Thrift shop find from 2022 that I'm just now getting to (Jan). This was an interesting drop and also included Soulive with Karl Denson (that I kept but didn't document for no good reason) and the Emerge album that I went on about recently. There were some other serious obscurities that I since sold off from that same find. Clearly the original owner was a deep diver in all things jazz. This title is in RYM, but not Discogs, an unusual reversal.  The back tray cover has many references to Herbie Hancock, Stanley Clarke, and Hendrix styled funk. Uhh.... no. The music can be best described as contemporary funk jazz. There's nothing fusion about it, it's almost smooth jazz. The trio is led by bassist Andre Marcel Ajamu Akinyele, and his instrument is way up front. Mostly in slap mode. Almost like a bass solo album. The other major player is Jon O'Bergh who plays electric piano most of the time. It's a pleasant listen, but not near at the level of the two albums I started this paragraph with.

x - Pro Midget Mafia - The Beat Inside My Head. 1997 Royal Flush (CD). Thrift shop find from earlier in the year, but just now getting to it (Dec 2024). According to Discogs this is Ska music but I don't hear it that way myself. To me it sounds like Budos Band playing Latin Big Band music instead of lounge funk. Interesting album nonetheless though falls outside of my interest area. Some very tight horn charts here, impressive musicianship. Looks like it's a rare one and sought after, so that worked out at least (and sold in one day).

Eddie Henderson - Sunburst. 2002 Blue Note (CD) (1975). Collection revisit (Dec 2024). A couple of years ago I found Eddie Henderson's debut Realization on LP and noted how much it sounded like Miles Davis and Herbie Hancock. I quite liked it, and it's "hard filed" as they say. My introduction to Henderson as a solo artist goes much further back though, to 2005 and his third album Sunburst. This was long before my enthusiasm for all things jazz funk, and I couldn't remember anything about this. Funny enough even my notes from 2005 suggested not remembering much about it even after hearing it only a few weeks prior, other than it was a "kozmigroov" classic. So here we are again for the first time in close to 20 years. Seems Henderson is favoring funky Hancock more and more. The playing is incredibly tight, and these aren't easy meters to keep up with. I enjoy this album as well, though not quite as much as the debut. I do find LPs like this in the wilds, and I'll reevaluate again. Probably I'd keep it then.

---The following were leftovers from the 2023 journals, so I'll stick them here.

Hazchem - Strange Attractor. 1990 World Wide Records (CD). Collection revisit (Dec 2023). The UK group High Tide had a resurgence in the late 80s and early 90s resulting in a few contemporary albums being released in their sphere. Of those, the only one I'm keeping is Ancient Gates. Hazchem is similar, but on Strange Attractor the focus is on jazz rock, and the primary lead is none other than one-time Soft Machine member Lyn Dobson on saxophone and flute. The vocals are from the same Indian lady as Ancient Gates giving off more than a whiff of Indo-jazz. Tony Hill is only on one track here, so it's a stretch to make comparisons to the late 60s / early 70s High Tide sound. A good album, but I don't need to keep it.

Miles Davis - Four & More. 2005 Columbia (CD) (1966). Collection revisit (Nov 2023). This outing represents the more fiery and upbeat songs from a February 1964 New York show. The mellow tracks ended up on My Funny Valentine. For this stage of Davis I tend to enjoy his softer material. Can get a bit noisy, which I appreciate more in his electric era. The musicians are awesome of course. But I tend to want to be soothed by Davis not irritated. I also lent this to Mrs. UMR, and after one session, she handed it back. Nope. Between us we have enough Miles here already, so this one can go.

BBI. 2008 Soleil Zeuhl (CD) (1996). Collection revisit (Sep 2023). Archival release from group formed from 90s-era Magma and Xaal. Mostly an instrumental power trio very similar to One Shot's debut with guitar as the sole lead vehicle. Fairly one dimensional. There is more of a Zeuhl presence due to Bussonnet's bass style. I have enough material like this, so this one can go. 

Other albums heard but not reviewed: Ramsey Lewis - Salongo (Mar).

* - Keeping for the collection; x - not in RYM / Discogs

2024 Fusion / Jazz Journal Vol. 5 - Complete

Herbie Hancock - Mwandishi. 2000 Warner Bros. (CD) (1971). Collection revisit (Dec). I recently revisited the follow up Crossings and my view there applies here as well. This is an album I want to like but I just don't feel it. And since it's more about spirituality than tactics, then it's imperative I do connect with it. I've tried for some 20 years, but this music isn't where I exist. Doesn't diminish my appreciation one iota, but have to be realistic to what I enjoy.

The Platina - The Girl With the Flaxen Hair. 2003 Mio (CD) (1976 archival). Collection revisit (Nov). My notes from 2005 stated: "Interesting archive album that mixes flute based rock with more avant saxophone jazz. First half of the album and latter tracks are fantastic, recalling a European sound found in bands such as the French group Triode. The wheezing jazz bits are a bit wearing for me, but probably not for those who normally enjoy that sound." That's pretty much it really. It's definitely more of a jazz album than rock. Plenty of interesting moments but not really any highlights.

Miles Davis - Sorcerer. 2005 Columbia Legacy (CD) (1967). Collection revisit (Nov). Yea this one is sort of middle-of-the-road Miles jazz. See Seven Steps review below from what I like from Davis. I pretty much have a full shelf of albums by him, so some of these have to go. The Legacy reissue is excellent of course.

*Buckner Funken Jazz - Demo. private (MC). I pulled this out of my friend's garage sale a couple of months ago. One sided demo tape. Pretty much what it says on the label. This is stage band styled jazz. There's no data on the tape, except for a business card that says Rod Buckner is the leader. The phone number area code indicates he's from nearby Denver. Solos from trombone, trumpet, and saxophone. Electric bass and drums round out the primary sound. The first tune I recognize as a standard, but couldn't tell you what it is. Alright, now let's see if they're on the internet. Yep! They call themselves an old school funk band. Hmm. This isn't the JB's that's for sure. There is rhythm guitar which helps with that angle. Sparse vocals. OK, I recognize the Average White Band on one cover tune. Some really good electric guitar jamming on this track but buried in the mix. The music improves as it goes into more of a jazz rock direction (still not much funk). Looks like they're still playing as of 2024. I'm going to contact Buckner to get more info about this tape (I did - and no response, oh well). (Nov)

*Miles Davis - Seven Steps to Heaven. 2005 Columbia Legacy (CD) (1963). Collection revisit (Nov). Unfortunately I have way more Miles than I need (or perhaps want is the better word). I've already shed a few of his albums, and now comes the next round of cuts. Not to worry, I have every intention of keeping my favorites till the end. Kind of Blue is Mrs. UMR's all-time favorite album and something we listen together quite a bit. Get Up With It remains my favorite electric period album, a strange choice I realize. And many more keepers including Agharta which is where it began with me and Miles. I find myself drawn to Davis' polars, either that of the lounge relaxers like Kind of Blue or the intense ragers that define the Bitches Brew era. Anything in the middle sort of flies by without notice. The opener 'Basin Street Blues' gave me that mellow buzz I crave from Davis. Same with 3 and 5 and... Yea, I have to keep this one too. Yet another great Legacy reissue.

* - Keeping for the collection

Miles Davis - Get Up With It. 1974 USA

If anyone asks me what my favorite Miles Davis album is, I will respond Get Up With It. Even though this focused listen (albeit in the car) resulted in a -1, it still falls in the exemplary range. Because what's good is astoundingly good. I'd like to start this discussion with Disc / Record #2 as it's more familiar in terms of Davis' other albums from this period. Essentially you get the deep jazz funk that Davis was offering up live during this era. Especially Dark Magus, Pangaea, and Agharta reflects what these studio versions relay. Wah wah guitar, bursts of trumpet, layered organ, bass, drums, hand percussion, sax, and flute all playing the murkiest of fuzzy funk. It's an hour of trance jamming, though I'm not fond of the short 4 minute 'Red China Blues'.

What's special about Get Up With It is the first disc / record. 'He Loved Him Madly' is quite simply one of the most beautiful and calm chill out pieces ever recorded. I remember the first time I heard it in the mid 90s (from a friend's cassette dub). I was exhausted after playing a 5 game tennis match. I just sat there in the chair mesmerized - and at total peace. In hearing this album recently in traffic I came to the conclusion that all radio stations should make it mandatory to play music such as this during 5 o'clock rush hour. Someone cuts you off? Noooo problem. I've got 'He Loved Him Madly' playing. Nothing's going to bother me. Same goes for subways, or any other hectic place. And that's not even my favorite track. That would be the next one 'Maiysha' which is the most accessible track here ironically enough. Sounding all the world like a 60s easy listening song funneled through Davis' funk filter, it's a potent combination. And the final track on this disc is 'Rated X' which is the exact opposite. Here Davis pulls out his inner Krautrock with his static-y organ and motorik drums. It's noisy, but one could imagine Can or someone similar playing something like this. More funky of course, but the vibes are similar.

Overall, a fantastic work. A bit too long in places and really could have used some trimming on Disc 2. But I'm sure the philosophy was to pack it all in there and let you filter what you wish. Fair enough.

Ownership: CD: 2000 Columbia Legacy. Outstanding reissue including full liner notes from session member David Liebman and a few photos. Looks like I picked this up near the time of release and was the first copy for me to own. I consider this my primary.

LP: 1974 Columbia. 2xLP gatefold. Bought this last year (2021) at a local record store for a good price. Superfluous really, but it's cool to own on vinyl. Probably will stick around for a long time too.

11/17/22 (new entry)

2021 Fusion / Jazz Journal Vol. 3 - Complete

Quantum Jump - Barracuda. 2015 Esoteric (CD) (1977). Thrift shop find (Oct). I hear Quantum Jump to be very similar to Automatic Man. And just as Automatic Man went whole hog for jazz funk, so did Quantum Jump. But whereas Automatic Man succeeded that genre hop, Quantum Jump failed miserably. There's no groove here, and the melodies are lifeless. They were just jumping (so to speak) on the bandwagon hoping to gain radio airplay. It failed on that front, and it fails as an album. On the plus side, the Esoteric reissue is excellent and provides a full length concert entitled BBC Radio One In Concert 16th July 1977. This is much better - some of the same tunes but sounding more raw and played with more energy. Not enough to keep, mind.

*Quantum Jump. 1998 Voiceprint (CD) (1976). With the above (Oct). This is another album I had no use for even in recent times. But loving it now. And once again, this album has no sense of purpose, almost guaranteeing its place in obscurity lists for time immortal. Another excellent reissue with full liners and five bonus tracks.

The Don Ellis Orchestra - Electric Bath. 1967 Columbia (LP). Two years ago (2019), we had here in the Springs what was known as the "14,000 album sale". A former antique shop booth owner had passed away, and left behind an enormous collection. Not just records, but that was the primary in this case. He lived in a "goat path" house, which is a term meaning he was a hoarder. His family took over a lot of it, and they continue to run a booth up in Denver. So these 14,000 were not even the "good" stuff. A lot of us weren't sure what to expect, but they did let out plenty of great albums anyway (and many of them were either sealed or perfect mint, since they remained unplayed (like this one)). Some of which I've already covered in the pages as features. It's also where I started my classical record business. I had a lot to learn about classical (I mean a lot), but my instincts did allow me to make a very nice profit on this sale (and I still have inventory). At the end of the day - on two visits - I bought over 100 albums. This was one of them. Always loved the cover and the title. Its reputation is well earned given the experimentation beyond traditional big band. For 1967, jazz artists like Ellis going out on a limb like this must have been exciting. One genre you'll hear in regards to Electric Bath is Third Stream, a mixture of jazz and classical. All that said, it's not really a favorite style of mine to begin with, and it's a stretch to continue to hold onto it. So I won't. (Aug)

*Miles Davis - Agharta. 1991 Columbia Legacy (2xCD) (1975). Collection revisit (Jul). Even though I had been well versed in Miles Davis' recordings, thanks to a local Dallas friend who was a huge fan, I didn't own any product until I picked up this CD in 1998 from Rasputin's in Pleasant Hill, California. Because of the when and where, I know Agharta better than any of his other releases, having played it pretty much non stop in the rental car going to and from my office at the time. Many of you know this album, and the story that it's the afternoon concert, later followed by an evening show (which is on Pangaea). No wonder Davis was sick and ill by this point. These are intense concerts, and to be playing five to six hours a day in front of large audiences is insane. By this time, Davis' band was a machine, and it was all about the deep groove. I love his organ sound as well. Tons of wah wah rhythm, which I've mentioned many times is a favorite around here. And also great sax, trumpet (sort of), and guitar solos. Hendrix meets Stockhausen I've read. With a dose of deep funk. That encapsulates it. I would rate Agharta even higher if there were more melodic tracks such as 'Maiysha' in the mix. That's not really what Davis was going for though. I have to say I prefer this "light" concert to the "dark" show (Pangaea). Light being a relevant term. Because of my familiarity with this, this remains one of my favorite Miles Davis albums. I think if it were another release from his Bitches' Brew period, I'd feel similar about that one as well. Comes in an old school "fat box" jewel case with 2 discs. I always liked those. Plenty of room for the booklet, of which this has of course. Typically great Legacy release. 

Weather Report. 1971 Columbia (LP). Thrift shop find (Jul). All these years and I've never heard the debut by Weather Report. It's a very intriguing album and I was on the fence about the contents. It's interesting to hear the band operate in experimental jazz fashion verse their more well known slick fusion sound. Fuzz bass and atonal sax are hardly ear friendly, but one cannot help but pickup the 1970 European jazz style on display here. I had to listen to it three times to determine its fate. A year ago, I would have held onto this, but this would just end up on the bottom of the stack today. Very good on the whole, though it's not something I would typically reach for. I do think this is an album that could have used some electric guitar to provide balance.

Weather Report - I Sing the Body Electric. 1972 Columbia (LP). With the above (Jul). I used to have a very nice French digipak CD of this one, but sold when offered a good price for it. Interesting in hearing it again, as my observation about not knowing too much about Weather Report's jazz era was not entirely correct. This is definitely cut from the same cloth as the debut, especially Side 1, whereas Side 2 is full-on Miles Davis styled. Once again, I think a guitar presence would have gone a long way to me appreciating this more. But the solo work is almost entirely left to Wayne Shorter, and I'm not a big fan of his oftentimes atonal sax playing. The rest of the band provide an excellent backbone, with some superb fuzzy analog sounds from Zawinul. I enjoyed a +1 listen here, but not enough for me to want to keep.

* - Keeping for the collection

2021 Fusion / Jazz Journal Vol. 2 - Complete

*** The following all came from a buy (Jun-Jul) at Independent Records, who were starting to dump LPs and 45s at deep discounts (they were to close in 2023). 

Spyro Gyra - Shaker Song / Paw Prints. 1978 Amherst promo (SP). Spyro Gyra were popular with my bandmates in high school (early 80s), and I think we even played a couple of their songs in our jazz/stage band. Very pleasant music really. They were one of the prototypes for what would become smooth jazz. Formed in Buffalo, their 1977 debut was a private press that's quite hard to score. Since they were in northwest New York, Amherst picked them up for a brief time, and that's when and where this promo came from. Eventually they were signed to MCA and were major sellers for the label. Both of these tracks are on the debut, and the Amherst and MCA LPs are very easy to score. I just bought this 45 because it was 10 cents. Good on the whole. Won't keep though. (Jul)

Shadowfax - What Goes Around / Maceo. 1986 Windham Hill (SP). I didn't even realize Windham Hill put out 45s! This was with the 10 centers, so why not try it? At this point in their career, Shadowfax is combining bad 80s new age, bad 80s smooth jazz, and bad 80s world fusion into a compendium of everything that was wrong with the 80s. A really great example of that specimen, smelly as it is. They're so far from the Watercourse Way album, they may as well be on another planet by now. Both of these tracks can also be found on their Too Far to Whisper album. (Jul)

***end of sale

Pat Metheny & Lyle Mays - As Falls Wichita, So Falls Wichita Falls. 1981 ECM (LP). Thrift shop find (Jun). Pretty much what you would expect from a Metheny album on ECM in 1981. This is a very mellow, soothing, adult contemporary jazz, typical of the time and place. The side long title track has a little bit of Tangerine Dream in it, which I enjoyed. Overall it's a pretty album, and were I still in accumulation mode, I'd keep it. I consider it on par with First Circle, and since I already have that as a representative, I'll let this one go. Metheny is popular at the record shows.

*Dizzy Gillespie / Lalo Schifrin - Free Ride. 1977 Pablo (LP). From an estate sale (Jun). Put Free Ride in the same category as Donald Byrd's Street Lady. A remarkable set of tunes, it's clear Schifrin put a ton of energy into his compositions here. Yes, it does have a disco beat, but it's a full band effort, and there are no strings to get in the way. Alter that beat slightly, and you have one hell of a jazz funk classic. And Gillespie is filling in for Miles Davis here, while Davis was hiding in the basement. Same sort of random bursts of trumpet. One has to think Davis himself would have put out a record like this in 1977 had he been active. Sacrilege? No way, this is a brilliant album really. Nothing to be ashamed of. Which explains its rarity today. Lot of folks are hip to this one. No less than a baker's dozen of quality jazz musicians play on this, and there's a boatload of killer analog synthesizers too. Great electric guitar, flute, sax, percussion, etc...

Ron Carter - Yellow & Green. 1976 CTI (LP). With the Gillespie (Jun). It wasn't that long ago that I found Blues Farm at an estate sale up north. It was pleasant jazz, with a focus on Carter's bass, and not much else. And... the same can be said for Yellow & Green. In fact, this is a bit lesser honestly. Fairly dull background jazz. Average. As always with CTI, comes in a very fine gatefold. And it's now cuddled up to Blues Farm... in the sell bin.

Lee Morgan - Sonic Boom. 1979 Blue Note (LP). From RT's collection (Jun). OK yea, this is classic post bop - recorded in April of 1967. Not really my style, and had I sampled it, it probably would have gone straight to the sell list with McLean. But I was busy last night doing an administration task on my collection, so I let it play twice all the way through. I really do enjoy Morgan's trumpet playing. Honestly I wish they'd play music like this in restaurants. Pleasing for sure, but not something I need to keep.

*Miles Davis - Miles Smiles. 198? Columbia (LP) (1967). From RT (May). One of those Nice Price deals. Oddly, I have on CD (and a few on LP) just about every Miles Davis album from this period - except this one! So that really worked out nicely. From 1967, Davis is still exploring jazz in the same manner as Kind of Blue. This is one of his more respected titles, and I can see why. The ballads are noirish and the more energetic tracks have some mean rhythms and tight charts. Easy recommendation.

John Mayall - Jazz Blues Fusion. 1972 Polydor (LP). From RT (May). Well it's blues alright. It's John Mayall, so that's to be expected. Jazz? Not so much. There's some trumpet, but jazz never leapt to mind here. And the word fusion I think is literal, verse what the term came to mean a few years later. I'm not a big blues guy (as a genre, though I love the influence), so this one will go.

New York Mary - A Piece of the Apple. 1976 Arista (LP). Thrift shop find (May). Another new name for me. This one was sealed, so off to YouTube I went to hear a couple of tracks. OK good enough, I'll break the seal. A Piece of the Apple is a somewhat typical American styled instrumental fusion group, with a touch of funk. A little Average White Band, some Streetdancer, a bit of Stanley Clarke, and a host of more obscure bands. Tight charts with an in-sync saxophone and rhythm section. Some fine trumpet, electric guitar, and good songs. Not an earth shaker by any means, but a solid entry for fusion fans.

Ron Carter - Blues Farm. 1973 CTI (LP). From another estate sale (Apr). When first hearing this title, I thought it should have been part of the jazz-funk collection (two sections below) verse the soul-jazz (one section below). But it's really neither. Ron Carter is a famous bass player, and the music is geared towards his instrument. Unless you're in a Zeuhl band, rare is the bass player that will hold your attention for very long, and Blues Farm is no exception. Hubie Laws does his best to keep it interesting with his fine flute playing, but overall this falls into the pure jazz category, with bass as a feature. Pretty good, but not something I'll pull down for a listen. As always from CTI, the packaging is a fine thick gatefold.

*** - Keeping for the collection