Cortex ~ France

Troupeau Bleu (1975)

---2009

A very fascinating jazz funk record. While not the most sophisticated album you’ll ever hear, it absolutely kills with breezy melodies, tribal / funky drumming, and the soft / seductive French female vocals. Nice driving bass and electric piano. The title track is sublime as is the catchy 'Mary et Jeff'. Other highlights include A5, B1, and the much sampled B3. Sits somewhere between the Belgian Canterbury Zeuhl group Cos and the more creative efforts of the NYC disco act Chic. 

---10/11/26

I played this CD quite a bit when I first purchased it. Troupeau Bleu is such a pleasant listen, and it's short, inviting multiple playbacks in a session. 16 years later, and I had a similar experience raising the grade to a +1. I wasn't aware of Sergio Mendes' work in 2009, but it becomes apparent how much Cortex borrowed that sound. The wordless and / or foreign female vocals, the friendly confines of Bossa Nova (or Samba in this case), and the uplifting melodies. Added is a jazz rock component that Mendes himself had experimented with on Primal Roots.

The CD adds one short bonus 'Jazz Dance' which is simply a variation of 'Mary et Jeff'. Nothing revelatory.

Ownership: 2008 Underdog (CD). Digipak with recording details. Acquired in 2009.

11/19/07; 1//09 (review); 3/14/10; 10/11/26 (update)

   

Volume 2 (1977)

Many, many years ago I heard Cortex's 3rd album Pourquoi? and trashed it off as disco, never bothering to return to the band name again. Now I'm wondering if there wasn't more there, as Volume 2 could just as easily be considered disco. But on close inspection there is so much more happening here, it would be a tragedy for fans of the French fusion sound to ignore. Sure there are the fat beats, especially on the opening track, and the requisite white-boy funk track to follow. But as the album continues, the beats become more subtle, with plenty of jazz fills, while the bass player introduces some Top / Paganotti moves. Horn charts, tortured electric guitar solos and piano / Rhodes leads began to dominate. And when the flute takes over... oh, those melodies will be forever etched. This is a really good one and you can boogie on down with it too. I can go for another helping of this.

Ownership: 2002 Follow Me Records (CD). Triple fold-out with liner notes. Acquired in 2006.

3//06; 2/27/10 (review)

Previously owned: Pourquoi. Need to revisit this title for certain.

2/27/10 (new entry)

Donald Byrd ~ USA

Ethiopian Nights (1972)

What was I saying on Black Byrd about wah wah rhythm guitar? Holy Moly. What a groove A1 has. And by the time Harold Land's sax solo comes across, you find yourself completely immersed into Byrd's new vision of jazz funk. As if to prove that track wasn't a fluke, the entire B side has a similar deep groove. Here, though, the psychedelic is played up much more. Of all the 50s and 60s era jazzers, Donald Byrd seems to be the one I connect with the most in his jazz funk stage. Even more so than Miles Davis and Herbie Hancock.

Ownership: 1972 Blue Note (LP). Acquired in 2026.

9/8/26 (review)

Thank You… For F.U.M.L (Funking Up My Life) (1978)

A good example of desperation so as to stay in the game. Back cover gives the game away with Byrd looking ridiculous in his double breasted yacht captain suit. Long ways from the gritty aura of Ethiopian Nights, Black Byrd, and Street Lady. Of course it must be stated that Byrd wasn't above recent trends, and played right into the jazz funk movement of the early 70s. He just happened to be really good at it. And here he follows the style of the day: Disco. And to be fair, this is a decent attempt for relevancy. The final track 'Close Your Eyes and Look Within' offers promise that Byrd could have had another winner on his side. Too many strings, boring beats, and annoying vocals sink this title though. Feels like a contract obligation album for Byrd. 

Source: 1978 Elektra (LP)

3/17/24 (review)

Black Byrd (1973)

Ever since hearing Street Lady, I knew I wanted to hear other Byrd albums from the time period. And Black Byrd is the beginning of the sound that we hear on Street Lady. As many have noted, it's pretty much a Mizell Brothers dominated release (i.e. they wrote most of the music). Apparently - in its day - the album caused an uproar with traditional jazz enthusiasts. And that frustration the critics expressed had such a profound effect - that Black Byrd became one of Blue Note's best sellers. Haha. I personally love this kind of analog breezy jazz funk. And Roger Glenn once again shines on flute, along with some innovative trumpet from Byrd. I'm a sucker for wah wah rhythm guitar and active percussion, and there's plenty of that too. Vocals are probably unnecessary but they are sparse. Love the 1897 vintage photo cover from Knoxville, Tennessee. A powerful image. Definitely keeping this one.

Ownership: 1973 Blue Note (LP). Acquired in 2021.

5/30/21 (review)

Stepping into Tomorrow (1975)

As the first notes play, it's apparent the groove will remain the same as on Street Lady. But it's even more slick, and adds female vocals to give it a more commercial feel. Gone is Roger Glenn and his flute, and his playing would have been perfect here. For this album, the best track IMO is towards the end, and that would be 'You are the World'. Overall not at the level of Street Lady, but a keeper all the same.

Ownership: 1975 Blue Note (LP). Acquired in 2021.

3/13/21 (review)

Street Lady (1973)

The first two tracks are about perfect for funky jazz. What a groove. Wonderful analog synthesizer, guitar, and of course Byrd's trumpet. Best of all is Roger Glenn's flute. He's killing it here. I love these large ensembles, and this one counts to 10. All six songs are great, but the first two and 'Witch Hunt' take the prize. 

Ownership: 1973 Blue Note (LP). Gatefold. Acquired in 2021.

3/11/21 (review)

Also own: Fancy Free

9/8/26 (new entry)

Lenny White ~ USA

Streamline (1978)

While I'm crankin' on jazz fusion albums, might as well get ol' Lenny in on the action. It's clear that White wants to get his funk on here. Complete with pimp hat. Were you ever curious what a funk cover of the Beatles' 'Lady Madonna' would sound like with Chaka Khan on vocals? I guess I hadn't thought about it either but White goes forward with an answer anyway. A3 follows with an instrumental hard rock tune. OK then. A4 reintroduces us back to jazz funk with female chorus vocals. The side closes with a 22 second guitar-drums jam called  'Spazmo Strikes Again'. Clearly the man has an unhinged imagination.

'Time' opens side 2. Wanna guess the style? You win - jazz funk - this time with male vocals. 'Pooh Bear' represents the kind of instrumental jazz funk I've been getting into these last six years or so. Breezy, optimistic, yet complex in its own way. Hearing a bit of George Benson as well, especially the guitar solo. B4 was getting a bit Love Boaty for me until Nick Moroch plugs in and wails on the guitar. He's the same guy providing the hard rock on the flip. I don't recognize his name, though he has an impressive resume of contributions according to Discogs. In any case, it's the longest song, and not the highlight for certain. Too smooth jazz. For those who are patient, B5 finally delivers on the Lenny White fusion cred.

Tough album to grade and evaluate. It's unfocused but largely pleasurable - in its own way, though. Can't fault him for trying for something different, and funk seems to be his preferred genre. I might grow into it more. Worth holding onto, despite purging others similar. Paid a quarter for it, and it's not worth much more sadly. And it's a super nice copy.

Ownership: 1978 Elektra (LP). White label promo. Acquired in 2026.

8/17/26 (review)
 

Venusian Summer (1975)

Venusian Summer is one of those fusion albums that fell through the cracks as I was motoring through multiple titles over a decade ago. Since new copies of the CD are going for the same price as a pack of bubblegum, I thought I'd re-engage.

This is Lenny White's first solo album, and he must have called in all his markers, as you'd be hard pressed to find such a list of fusion all-stars on one album. All but his comrades in Return to Forever are here, except Al Di Meola who rips on the final track trading insane licks with none other than Larry Coryell. The music isn't straight fusion, but rather has a strong funk bent. As well as prog rock, as heard on the title track. 'Mating Drive' is a burner, one of the heaviest fusion pieces you'll ever hear. Larry Young is a beast on the organ, while Doug Rauch and White goes nuts on the rhythm. Meanwhile Ray Gomez absolutely shreds on the guitar. Mid 70s jazz fusion at its best.

Ownership: 1999 Wounded Bird (CD). Acquired in 2025.

8/11/07; 4/2/14; 12/29/25 (review)
 

The Adventures of Astral Pirates (1978)

One presumes Lenny White was hitting the wacky weed pretty hard during this era, if we are to absorb the concept, cartoons, and storyline of The Adventures of Astral Pirates. Well, no matter, as White has turned in a powerful, mostly instrumental, jazz fusion album not that far removed from his other gig with Return to Forever. So Chick Corea was into Medieval knights and White was into alien pirates from antiquity. Like I said, could have been the bud.

What makes The Adventures of Astral Pirates such a great album is the solid compositions, strong melodies, some indigenous global sounds, and - to be expected - expert musicianship. It would be easy to laugh off a work such as this, but doing so would be at your loss. And what I respect most about White's album, is that he doesn't feel the need to remind you that he's a monster drummer. Other than a small bit on 'Assault', this is truly ensemble material. A good one that I feel is often times overlooked.

Ownership: 1978 Elektra (LP). Gatefold. Complete with outrageous story and artwork. Acquired in 2008.

2008; 6/3/14; 7/10/18 (review)

7/10/18 (new entry)

Joe Farrell ~ USA

Outback (1972)

Following my flurry of activity around Joe Farrell a few years ago, I've finally gotten around to hearing his "debut" album. That is to say without the Quartet designation. As mentioned below, I'm a big fan of Farrell's flute playing, and the opener is an atmospheric piece featuring just that. Wonderful. A2 puts us back in post bop territory, though I'm enjoying Farrell's sax playing more than on the later albums. Not as honking, a bit more smooth, though no less noisy I suppose. Chick Corea kicks in some fine electric piano. The byline goes to drummer Elvin Jones, so you know the heavy hitters are aboard. Airto didn't even make it to the marquee (interesting to note that he was listed second on the 1979 reissue, his commercial viability had risen quite a bit by then). This cut is pure jazz for those who are seeking that out.

B1 continues in a similar fashion, though a bit more early 70s than early 60s if that makes sense. And Farrell is wailing a bit too much for me here. Corea is trying hard to keep the piece grounded into something more pleasurable. Unfortunately B2 goes even further into the jazz jungle. For those who do not like jazz rock or fusion, this album would likely be the favorite of the lot. It's a good album for certain, but nothing I need to hold onto at this point.

Source: 1972 CTI (LP). Thick gatefold. And the poster is still at $19.50!

8/11/26 (review)   

Penny Arcade (1974)

Earlier last year I picked up a handful of Joe Farrell albums, starting with his 1970 quartet and ending with 1975's Canned Funk. For me each album progressed further into the territory I enjoy. From the decidedly pure jazz at the beginning of the decade to the grooving heavy funk by the mid 70s. And Penny Arcade maintains that trajectory, as I found myself enjoying this more than Moon Germs but not as much as Upon This Rock. Primarily the difference is there are no whopper tracks here, everything is just satisfactory. Or as they would say in the business world: Meets Expectations. Guitarist Joe Beck is certainly more restrained here (unfortunately) than on the next two albums. And I always wish that Farrell would have stuck to the flute, as he's sax honking mad here. Given the entire Joe Farrell experience, I'm keeping this for now.

Ownership: 1974 CTI (LP). Gatefold. Acquired in 2022.

10/14/22 (review)

Joe Farrell Quartet / Song Of The Wind (1970)

OK, this was one Joe Farrell too many for me. His first release as band leader shows Farrell still in pure jazz mode, without any hints of rock. Opens up in fine fashion with a pleasant post bop piece, though again I'm not too fond of Farrell's honking style. 'Collage for Polly' is a fine atmospheric experimental number with flute in the lead. 'Circle in the Square' is exactly what I don't like in jazz. Way too noisy, though not avant garde by any means. This is iffy so far. The first three tracks on Side 2 has Farrell primarily on flute, which I enjoy, though I'm having a hard time finding a comfort zone here. It's a bit loose and lacking memorable melodies or sequences. The final closer 'Motion' is awful. Now this is free jazz, and I'll probably never get my head around why it was popular in the first place. I appreciate the freedom of sound and idea, but you have to do more than make random noise, for me at least. Yuck. Even though John McLaughlin is featured as part of the group, his guitar is almost entirely absent. I'm going to move this one out. Features a nice gatefold cover, typical of the label. 

In the small print, it states you can get a custom color print of the cover for $19.50. Whoa, that was a lot of money in 1970 for such an item. I wonder if anyone actually took them up on the offer? 

---6/1/26

So I sat down to listen to one of my newly acquired Joe Farrell albums entitled 'Song Of The Wind'. Hmm, seems like I've heard this before! I put the genius in Genius Hans I tell ya.

Since I was already here, I gave it another whirl. My opinion is verbatim of the above. Tempted to go +1, but damn B4 is a mess.

Interesting to note that the repro of the cover is now only $2. Now that's deflation!

Source: 1970 CTI (LP). Gatefold; 1976 CTI (LP). as Song Of The Wind. Gatefold.

6/28/21 (review); 6/1/26 (update)

Moon Germs (1973) 

I recently reported on two later Farrell albums, and how I enjoyed both immensely. Moon Germs was my introduction to Farrell's solo works, via a CD release. Since it had some value (at the time), I sold it, as I wasn't overly enamored with it. But I definitely wanted to hear it again with a fresh set of ears. After hearing it again, I can certainly see why I was OK letting it go. But I do enjoy it more now. If for nothing else than the excellent closer 'Bass Folk Song' which sounds more like Lloyd McNeill than Joe Farrell. He should have played the flute more, that's for sure. "Stan" Clarke is also having a good time on the bass throughout the album. The other tracks point more to a late era jazz album than the more trendy rock fusion that was penetrating the market back then. Love these CTI bulletproof gatefolds - and it's a great cover too.

Ownership: 1973 CTI (LP). Gatefold. Acquired in 2021.

First copy: 2002 CTI Legacy (CD). Acquired in 2005.

2//05; 12/16/15; 6/26/21 (review)

Canned Funk (1975)

This album goes hand in hand with Upon This Rock. Everything from the album layout, song lengths, instrumentation, and musical focus. Side 1 is a bit off the pace, though once again guitarist Joe Beck is keeping it far above water. But Side 2 is the best of the "4 sides" if I can compare. 'Suite Martinique' is brilliant, moving towards progressive rock, given its relative complexity. Superb flute and sax from Farrell, and Beck is on fire here. Great rhythm section throughout. These Farrell albums are proving to be a revelation for me. As noted, comes in yet another fantastic thick gatefold cover, pointing to an earlier era of product.

Ownership: 1975 CTI (LP). Acquired in 2021.

3/15/21 (review)

Upon This Rock (1974)

Like with Donald Byrd and Joe Henderson, I don't know much about Farrell either. I was convinced to buy his Moon Germs album, which I dutifully picked up on CD many years ago. I did like it, but it wasn't revelatory, and since I could get good coin for the CD, I sold it. I probably need to revisit again now that my ears are more adjusted, and certainly would buy the LP in any case (and I did just that as you can see above). And even more so now since I've heard this follow-up album. Guitarist Joe Beck lights it up everywhere. I like everything he's on, so that should be another focus area for me. Opener 'Weathervane' can get pretty complex, and recalls Mahavishnu Orchestra at times. 'I Won't Be Back' is also great with Beck's guitar and some fine flute playing from Farrell. The title track starts awesome with Beck seemingly ready to go into Manuel Gottsching mode, but unfortunately pulls back. I was hoping for a Gary Saracho moment here. My only "complaint" (ha!) is I'm not overly fond of Farrell's sax work here. He's not screechy or noisy, so that's good, but he does tend to "honk" which can be annoying, to my ears anyway. A small matter really, as this album is excellent overall. Like many CTI albums, this comes in a fine thick gatefold cover.

Ownership: 1974 CTI (LP). Gatefold. Acquired in 2021.

3/14/21 (review)

Also own: Benson & Farrell

10/14/22 (new entry)

Caldera ~ USA ~ Los Angeles, California

Time and Chance (1978)

I recently heard Caldera's second album Sky Islands, and I just couldn't get into it. I couldn't even muster up a review here for UMR. As I reflect on their quartet of albums, that was their try for commercial stardom, and is the odd one out. From the beginning of Time and Chance, Caldera are clearly going back to their Latin based jazz fusion roots. Jorge Strunz is in full powered Santana / Al Di Meola mode here. There's more than a nod to the latter's songwriting style throughout.

'Shanti' is really nice with female wordless vocals, flute, and searing guitar. And the album closes the proper way, with a smoldering fusion number where Strunz lets loose on the fretboard with plenty of additonal flute.

Three strong albums out of four is a good career I would submit.

Strangely, Time and Chance has never been reissued on CD whereas the others have (though Dreamer remains a scarce Japanese only product).

Ownership: 1978 Capitol (LP). Acquired in 2014.

4/11/14; 7/4/26 (review)  

Caldera (1976)

The CD boldly claims "Masters of Funk & Soul" and "Some of the Greatest Funk Albums Ever!". Generic hype for the series perhaps, but it doesn't really apply to Caldera's debut. Los Angeles based Caldera are in the jazz fusion strike zone. Fastball down the middle. It's a great example of the scene taking some of the more Latin influenced tracks from Return to Forever and giving that style more focus. It's complex yet highly melodic. And well composed. Caldera aren't technical in the same sense as RTF, which is a plus for me. From here they were to add more funk and soul elements similar to the better side of Earth Wind & Fire. All four albums are worth exploring.

Ownership: 2004 EMI / Capitol Europe (CD). Booklet with a short history of the band and album. Acquired in 2005.

5//05; 5/26/24 (review)

Dreamer (1979)

Most bands don't end a career with their most dynamic and progressive album especially in 1979. Caldera had dabbled with commercialism on their sophomore effort Sky Islands, but this one is primarily a fiery instrumental fusion along the lines of 1972-74 era Santana, with some nods to Return to Forever. They threw caution to the wind and just went for it. If only most bands had a similar attitude back then. Arguably - and probably - their best album.

Ownership: 1979 Capitol (LP). Textured cover. Acquired in 2022.

First copy: 2015 Capitol Japan (CD). Acquired in 2015.

7/19/15 (review); 12/18/17; 5/4/22

Previously owned: Sky Islands

7/19/15 (new entry)

Passport ~ Germany

Infinity Machine (1976)

---5/24/07

Infinity Machine is a fascinating experiment, which allows the listener the opportunity to fantasize what it would’ve been like had Tangerine Dream released a jazz album. Why you may ask? Check out the sequencers that dominate one half of the album.

---4/6/26

Had this noted in my "need to revisit" list below. Found a cheap copy at the last COS record show, so let's try it again.

I wasn't really quite sure what I was going on about in my original review. All of Side 1 is a typical funky type of fusion. Well done, though not particularly memorable. The title track opens side 2 in a more dynamic fashion. The album's highlight is the lengthy 'Ostinato' where Kristian Schultze gets busy with the synthesizers and mellotron. It's this track that I was referring to, though it's only half of a side, not album. The closer of both sides are of an introspective nature. Good album, which was my initial assessment, but not enough new revelations, beyond the one track as noted above.

Source: 1976 Atlantic (LP)

5/24/07 (notes); 2/8/14; 4/6/26 (update)

 

Doldinger Jubilee '75 (1975)

We were recently in Tulsa, Oklahoma, on our way back home from acquiring the collection in the Southeast. I arm-twisted Mrs. UMR in allowing me to dig at one record store for about 20 minutes. There were no obvious great deals, or anything that I really wanted, so what I usually do in that situation is pick up at least something. I like to support the stores, but not spend too much if I don't have to. So I walked out with one good classical album - and this, priced properly at 3 bucks. I've never heard it, so why not see if it's collection worthy. That lineup is solid, with Philip Catherine, Kristian Schultze, and Curt Cress leaping out to my eyes.  

The tunes are mostly culled from prior studio albums, with Les McCann's 'Compared To What' and Catherine's 'Angel Wings' added to the repertoire. My initial reaction was this is a very good concert, but a bit subdued. Doldinger has a sax tone that doesn't always resonate with me. Side 2, though, brings a high energy level, and suddenly Side 1 opened up in a similar manner. Wolfgang Schmid's bass work, in particular, is stellar. A2 and all of B are your highlights. Going to keep this one.

Ownership: 1975 Atlantic (LP). Acquired in 2026.

1/20/26 (review)  

Second Passport (1972)

Wasn't expecting Passport to be the source of my next +1 listen. But that's recently what happened as I was drawn in by the energetic, and at times, complex jazz rock brought forth by Klaus Doldinger's bunch. A2, A4, B2, and B3 are stellar. A3 is spacious and provocative. Meanwhile A1 and B1 appear to be more traditional but each breaks into their own serious jams. Saxophone and organ lead the solo parade. Superb album.

Ownership: 1972 Atlantic Germany (LP). Acquired in 2023.

11/18/15; 4/15/23 (review)

Looking Thru (1973)

Looking Thru is the 4th album from Klaus Doldinger and Passport. It's also the only one I hadn't heard to date of the first six. And as 'Eternal Spiral' opens, I thought I may have missed out on the best one! Right from the start, Moog's, mellotrons, and energetic rhythms propel this most auspicious opening. And then... ...it's Passport. For the most part you get seven pleasant jazz fusion sax driven instrumentals. They're a professional band, and the quality of musicianship and production are high. 

My original assessment of the album (from the Japanese CD) was good, but inessential. A relisten last night confirms that it probably isn't essential but I still had a +1 listen. Most likely this stems from my recent interest in jazz funk, and I found the melodies more pleasing this go round.

Ownership: 1974 ATCO (LP). Acquired in 2022.

3/7/19 (review); 3/11/22 (update)

Also have heard: Passport (1971); Hand Made; Cross-Collateral. Need to revisit all of them.

3/7/19 (new entry)

Manfredo Fest ~ Brazil

Brazilian Dorian Dream (1976)

My only encounter with Manfredo Fest prior was the hyper obscure EP that I - more or less - rediscovered about seven years ago. Dutifully added it to Discogs, and some economics flunkie sold it for $15. When the next $1000+ copy moves, I'm sure he'll feel smart. Which is why I stopped adding things to Discogs. Too many slow brains out there to trust with these sort of rarities. Triggers me. If only Carolina Soul had a copy first. Here's my review of that EP, and my experience with it, and how it started my Unknown Vinyl Records blog (which I've fallen terribly behind on, and I have so much more to add there). Discogs shows an ownership of 2. The smart person that grabbed the $15 copy (I presume). And me. Those might be the only two copies left on the planet.

Which gets us to Brazilian Dorian Dream, which is by far the most known and popular of Fest's albums. I was sold on its contents in about - oh - 25 seconds. Starting off like every album that features The Northettes, Fest proceeds to bring out the Mini Moog and electric piano, the rhythms go on fire, and Roberta Davis provides the beautiful airy wordless vocals. It is about perfect, and it only gets better from there. Have to think that Sergio Mendes' Primal Roots had a role in the sound displayed here. Someone astutely compared this album to Cortex's Troupeau Bleu, where there are many similarities. Which recalled my own observation of Cortex reminding me some of Cos, taking us back to our Canterbury roots. This isn't a Canterbury album of course, but it has that feel-good optimistic sound, with brilliant songwriting. Perhaps had Fest added an electric guitar, or a flute, then Brazilian Dorian Dream would have gone to even a higher plane. I'm more than happy to be on the mountain he scaled as it is.

Ownership: 2020 Far Out (CD). Booklet has only the original liner notes. Taken from vinyl but it does sound good. Acquired in 2026.

3/16/26 (review)

3/16/26 (new entry)

The Headhunters ~ USA

Survival Of The Fittest (1975)

My CD emphatically states "THE Best Space-Funk Album". No room for negotiation, you just have to accept that premise. Funny to see that from a major label reissue.

Formed by Herbie Hancock, though he isn't a participant, The Headhunters go about making a funk album with a heavy jazz component, most notable in the free-ish saxophone playing from Bennie Maupin. Blackbird McKnight's guitar is more subdued here than on Straight From The Gate, except on B3 where he finally lets loose. There's more than a nod to the same sound Embryo and Missus Beastly were pursuing in Germany during this era. My favorite cut is the atmospheric flute / funk rhythm of 'Rima'. While Maupin has the burden of holding up these compositions, my MVP vote goes to bassist Paul Jackson, who puts the "funk" in this album.

Yea, I think I can go on record here and debate the CD's declaration of Best Ever Space Funk album. Regardless, it's still a fine effort in the style.

Ownership: 2025 Music On CD (CD). Essentially a repress of the 2001 Arista / BMG France release. Acquired in 2026.

2/9/26 (review)

Straight From The Gate (1977)

A mix of hard hitting instrumental jazz fusion and funky vocal numbers. They succeed on all accounts. Some great guitar from future P-Funk member Obsidian Blackbyrd.

Ownership: 1977 Arista promo (LP). Acquired in 2024.

7/3/24 (notes) 

The band reformed in 1998 and have released five new studio albums since. Haven't heard any of them, but if I do, I'll report back here.

2/9/26 (new entry)

Rare Earth ~ USA ~ Detroit, Michigan

In Concert (1971)

If there's an album that proves my theory about Rare Earth never letting loose, it's In Concert. When finding this CD I had hoped that perhaps in a live setting, Rare Earth would bring a new level of intensity. Sadly they do not. I'd submit they are of a lower energy than the studio versions. They proved this point the most on 'I Know I'm Losing You', a track that should send chills up the spine. 

Not to say they sleep walked through these tracks either, just that they did not bring the oomph they need. One only has to listen to Judas Priest's Unleashed in the East to know what a kinetic live album can add to studio recordings.

Though In Concert remains their highest rated album (according to RYM), I'm not convinced it achieves the high marks. I would think the only reason to seek this out is for the near 11 minute jam 'Thoughts' which I believe is the only place the track exists.

Source: Motown (CD)

1/28/26 (review)
 

One World (1971)

The big hit here is 'I Just Want to Celebrate' which is definitely the best song on the album for my tastes. This is a good album but somewhat "generic Rare Earth" sounding. They were to rebound nicely on Ma, but this title is a bit mundane. 

Source: 1971 Rare Earth (LP)

9/11/24 (notes)

Ma (1973)

Another solid hard rock funk album from Rare Earth who seem to specialize in heavy psych covers of soul classics. B3 is a killer, one of their best ever. B4 is oddly erotic but a very good track and a different direction for the group. I can do without B2. The side long track is like a lot of the Rare Earth catalog - always on the cusp of something big, and yet they hold back. They never really did let loose for that one psychotic Krautrock styled freakout. I'll keep this one.

Ownership: 1973 Rare Earth (LP). Acquired in 2024.

6/13/24 (review) 

Ecology (1970)

---5/9/22

OK, this is the Rare Earth album I've been looking for. Non stop kickass hard rock and organ. My copy is trashed (like all the ones I've seen), so I'll need to upgrade before commenting more. The only reason I have this copy at all is that I took a chance on one of those Goodwill auctions. It was predictably not a great experience. Fortunately the two records I thought I could resell turned out pretty good and will more than pay for the lot. But I'm not doing that again. I had to throw away the Eagles' Hotel California album it was in such bad shape. Goodwill sucks really. 

---5/19/23

So that day has finally come. There was an interim copy with the cover in shrink, but the vinyl once again barely made the VG level. I finally found a German copy, itself visually a VG, but it plays much better. So let's analyze the album a bit further.

In a lot of ways Rare Earth reminds me of Iron Butterfly. Not so much in sound, but lost opportunity. While both of these bands reached their peak long before my time, any kind of historical study will show that they were both huge in their day and highly influential. Motown named a sublabel after Rare Earth, as but one example. Had they been based in Europe they likely would have had more creative freedom, but the major labels here were laser focused on the next hit, and it appears that both of these legendary bands were all too willing to play ball. Bad for their legacy, and ultimately bad for their pocketbook. Rare Earth arguably fared better with their most known song coming one year later in 'I Just Want to Celebrate'.

While the previous Get Ready had a side long track, it's here on Ecology where the band experiments the most. And the one track where that really becomes apparent is a cover of The Temptations' '(I Know) I'm Losing You'. Everything about it is so perfect, yet it feels like it should be so much more. It's on the verge of psychotic madness but holds back just enough to keep within sane levels. It's use of quiet space inside the proposed boundaries is brilliant. And while it does have some wicked guitar, one wishes for it to have gone off the rails while the impassioned vocals are being echoed throughout the halls. The whole album maintains this feel that they're holding back something special, yet it's still an excellent album. It should have been a masterpiece though. For 1970 America, Ecology was considerably ahead of its time. If only Del Jones had walked in and had some influence. Hoo-boy, wouldn't have that been something? Today dogeared copies of Rare Earth albums sit unwanted in dollar bins, awaiting their ultimate fate to the trashcan. A mere historical footnote in the annals of rock music.

Ownership: 1970 Rare Earth Germany (LP). Acquired in 2023.

5/9/22 (first acquired / notes); 5/19/23 (review)

Get Ready (1969) 

Here is Rare Earth's breakthrough 1969 release. Like with Iron Butterfly, Rare Earth were a band that was positioned for a long great career, only to let it slip through their hands. Similarly their albums are relatively easy to find, and demand remains light. All the same, they are to hard to find in nice condition, as they are usually partied out by now. And taking the comparison further, one could look at Get Ready as Detroit's response to Southern California's In-a-Gadda-da-Vida. Some rockin' tracks on Side 1 followed by a near 22 minute opus on the flip. It's more direct than the oftentimes esoteric Iron Butterfly, but that speaks to the region itself. This isn't my first go round with Get Ready, an album I first picked up back in the late 80s. I thought it was OK, but it should have been better, and moved it out. Some 40 years later, and I still agree with my original assessment. The songwriting is a little light, and the cover tracks aren't particularly compelling. But it's also hard not to appreciate the excellent fuzz guitar throughout. I'm appreciating Get Ready more today than prior, but it isn't near the level - or as influential - as Iron Butterfly's masterwork.

Ownership: Motown (CD). 90s issue. Acquired in 2023.

1989 (first acquired); 5/12/21 (review); 6/23/23 (update)

5/19/23 (new entry)

Funkadelic / Parliament (& related) ~ USA ~ New Jersey ~ Detroit, Michigan

Eddie Hazel - Game, Dames and Guitar Thangs (1977) + Jams From The Heart (EP) (1975 / 1994)

---Nov 2004

Eddie Hazel's sole album is absolutely essential for fans of Hendrix fueled funk. As close as we’ll ever get to knowing what it would be like if Hendrix were to go the funk route outside of classic Funkadelic of course.

The bonus tracks are from the posthumous Jams From the Heart EP recorded in 1975, and not released until 1994. The music is just as stated - long overloaded guitar jams. Good stuff, if not overly focused, more boogie oriented on the first long jam, more blues based on the other. There are two shorter pieces as well including my fave ‘Unkut Funk’.

---12/29/25

And that was my last listen long before the advent of UMR. Since that time, my interest in funk has gone considerably up. Especially from the 45 scene, where there are many more examples of psychedelic funk. 45s are a good format for the style as they usually get right to business and don't piddle around to fill the LP length. Eddie Hazel's album is like one big string of psych funk 45s. The covers are so rearranged and distorted you'll be hard pressed to name the original. That's a plus. As indicated in my original review, essential for the style. 

Though Jams from the Heart is technically an EP, it isn't much shorter than the Game LP. These recordings weren't ever meant for commercial release, so we basically get to hear Hazel jam in the studio. Sounds like a great idea to me.

Ownership: 2004 Rhino Handmade (CD). Four bonus tracks. Numbered edition (mine is #3233).

11//04 (acquired / review); 12/29/25 (update)

Standing on the Verge of Getting It On (1974)

Funkadelic's 6th album brings back Eddie Hazel on guitar after a two album break. If you didn't know any better, one could be forgiven in thinking this was a hard rock album. Or at least heavy psych in the Hendrix tradition. It's hard hitting rock that eventually does demonstrate their funk roots in the middle of the album. The final track 'Good Thoughts, Bad Thoughts' proves that Funkadelic still had reverence for the last part of their name. Considered by many to be their finest album, it certainly gives Maggot Brain a run for its money. The latter possessing stronger material but is less consistent. 

Lyrically this album is Standing on the Verge of Getting Can-Celled. In our current bizarre culture, even a clinically crazy group like Funkadelic is finding themselves under the lens. The opening silly dialogue and tracks like 'Jimmy's Got a Little Bitch In Him' are already under scrutiny by those that feel they are insensitive and do not pass their "purity test". At the current rate, this album will be banned in 10 years. No wonder everyone is running out to get their copy. America Eats Its Young indeed. Who said that anyway? Oh yea, I know.

To this day I haven't heard the two albums that precede this, something I'm sure will be rectified eventually.

Ownership: 1974 Westbound (LP). Gatefold.

3/15/05 (CD acquired); 8/25/22 (LP acquired / review)

Funkadelic (1970) 

In recent years, funk has become one of my favorite styles. So I was very much looking forward to revisiting this title in the collection. It's an interesting debut - not particularly funky at all. It does have psychedelic aspects, mostly found in the production and with Eddie Hazel's guitar. The latter is not near as focused or as intense as their 3rd album Maggot Brain. A lot of loose jamming can be heard here - many compare to Jimi Hendrix's albums from the same era, but I would suggest this is more laid back than that might imply. One of those albums I'm sure I'd appreciate more as an original LP, but those are extremely hard to find at any kind of a reasonable price. For now I can let the CD fly. 

Former ownership: 2000 Westbound (CD) 

2003 (CD acquired); 6/20/22 (review) 

Parliament - Mothership Connection (1975) 

So... what would be the opposite of Fleetwood Mac? Rhetorical question. Whatever traces of seriousness George Clinton had left for Funkadelic are now completely wiped out on the resuscitated Parliament project (once a doo-wop group going back to the 1950s called The Parliaments, when Clinton was still a young teen). This album has one purpose - to Par-Tay. It's funked up, prosifunkstication, and thumpasorus. P-Funk is its own genre for a reason. It's pure funk too, so no psychedelic guitar frenzies or progressive rock charting to get in the way of the dance floor. And a heck of a lot of fun.

Former ownership: 1976 Casablanca (LP). New label design. Acquired in 2020.

12/22/20 (review)

 

Maggot Brain (1971)

Maggot Brain is the 3rd album from Funkadelic, and is often cited as their masterpiece. No argument from me, though it is quite a departure from their ordinary sound. The title track has to be the darnedest opening to a funk rock album that has ever been. Sounding like a cosmic Krautrock piece, Eddie Hazel conjures up My Solid Ground on 'Dirty Yellow Mist' playing the music of Dom's Edge of Time. I will never tire of music such as this. Can you imagine if Eddie Hazel was the guitarist for Del Jones? Well then, there would be no point in owning any other albums.

I'm not particularly fond of the more traditional soul funk tracks here such as 'Can You Get to That' or 'Back in Our Minds'. The hard hitting psychedelic funk of 'Hit It and Quit It' and 'Super Stupid' are Funkadelic at their energetic best. And 'Wars of Armageddon' closes in great fashion with more heavy guitar and some experimental collage work. Yep, I'm standing in line for this one. 

Ownership: Westbound UK (CD). 90's pressing.

1998 (acquired); 2/7/15; 12/20/19 (review)

12/20/19 (new entry)

Maynard Ferguson ~ Canada ~ USA

Carnival (1978)

As with Primal Scream and Conquistador, Carnival is an album I acquired in high school and doubtful it made it to college with me. I had forgotten about this title actually, and its impact was far less than the other two. If memory serves, this album showed up about a year later in my collection, and my brain was going underground by then. The 69 cent bin comes in handy once again, and let's see if I remember any of it. This is also the first vintage Maynard album for me to hear on CD (not counting Diane Schuur).

As with Conquistador, the album opens up somewhat in proggy territory, before finding its way into more friendly funky big band sounds. Strings and a light disco beat add that Love Boat cruise ship feel. That's not to say the funky beats aren't complex and well written. This isn't dance music, more like cocktail hour on the Lido Deck. The second track is my all-time favorite Earth Wind and Fire song 'Fantasy'. A very unique arrangement and entirely satisfying. 'Battlestar Galactica' is a repeat of the same idea and same placement as 'Star Trek' from Conquistador, which was one album prior. 'Stella by Starlight' is an old school jazz lounger.

The second side opens with 'Birdland', a signature song written by Joe Zawinul of Weather Report and can be found on Heavy Weather. We used to play this tune in our high school stage band in 1982-83, which may have been the impetus for me buying this. 'Baker Street' is an unnecessary cover of Gerry Rafferty's hit single. 'How Ya Doin' Baby?' sounds like a caricature of funk. The album closes with a smooth jazz rendition of 'Over the Rainbow', and you can imagine how that sounds.

Yea, I can see why this title didn't register much with me. The other two are powerful and dynamic. Carnival plays more to its perceived audience rather than asking the audience to accept what Ferguson brings. The opening two tracks are the winners here. I can move on from this title.

Source: 2003 Wounded Bird (CD). Booklet with recording details.

First copy: 1978 Columbia (LP). Acquired in 1982.

1982; 12/22/25 (review)

Primal Scream (1976)

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 (40+ 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.

Ownership: 1976 Columbia (LP). Reacquired in 2024. First acquired in 1981.

 
1981; 10/4/24 (review)

 

New Vintage (1977)

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 reviews here), 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.

Source:  1977 Columbia (LP)

 
8/2/24 (review)

 

M.F. Horn 4 & 5: Live at Jimmy's (1972)

Wow, the first side is excellent recalling the powerful 'Give it One' from MF Horn 2. My kind of rocking big band sounds. The rest is pretty standard "stage band" fare, the kind of music I used to play while in high school. Well done for what it is, but not something I will listen to much and can sell. But side 1 almost had me keeping it. 

Source: 1972 Columbia (2xLP)

4/18/22 (review)

M. F. Horn Two (1972)

Ferguson has something very interesting going here - that of a big band rock album. Not horn or brass rock, but big band. Terje Rypdal started his career with a similar type effort. The opener 'Give it One' packs a wallop, with multiple theme and meter changes. And jams heavy too. I would love to hear a whole album of this! The remainder is the usual Ferguson mix of cover tunes and originals, the latter being the highlight. Though I never tire of 'Theme from Shaft'. Overall, the album is quite good and unique.

Former ownership: 1972 Columbia (LP). Acquired in 2022.

 
3/9/22 (review)

Conquistador (1977)

This was the first jazz album I ever bought, going all the way back to 1981 while still a sophomore in high school. Ferguson was popular with the brass section of our school marching band, which I was part of. I really enjoyed it at first, but I didn't really have a foundation or perspective for the music, and a few years later I parted with it. I don't think I allowed myself a chance to like it honestly. Now it fits perfectly with my ever increasing interest in jazz funk. I'm a sucker for the 'Rocky Theme' anyway, and what better way to open an album. 'Mister Mellow' and 'Soar Like an Eagle' are superb jazz funk numbers. And the title track starts off in progressive rock territory of all things. After the opening trumpet proclamations, it breaks down into a massive oft-kilter bass and drum riff, before joining the rest of the album's genre motif. Today I consider this an excellent album and glad to be reunited.

Ownership: 1977 Columbia (LP). Half-Speed Mastered. Acquired in 2022

First copy: 1977 Columbia (LP). Acquired in 1981.

1981; 3/12/22 (review)

Diane Schuur / Maynard Ferguson - Swingin' For Schuur (2001)

This one goes back to 2019 when I bought a huge pile of CDs for pennies. Pretty good late night noir-ish release. Schuur does a decent job at the femme fatale role, though she isn't really sultry enough. When it's her and the band, the music is nice for driving. But oh boy, is Maynard Ferguson all wrong for music like this or what? His "primal scream" trumpet is all over the recording, and it's like an air raid siren blaring on top of a symphony orchestra. This music is made for Miles Davis and his followers. For me, 'Bésame Mucho' is the highlight of the 12 songs here. 

Source: 2001 Concord (CD)

11/28/21 (review)

7/29/22 (new entry)

Gabor Szabo ~ Hungary ~ USA

Mizrab (1973)

Mizrab represents the first Gabor Szabo album, as my introduction, to hear via CD. You can read my thoughts about this on the Macho addendum review below. 

The cover advertises the musicians participating, and it's a who's who of jazz fusion A-listers. Szabo always surrounded himself with top talent, so I'm curious if the music reflects more of a fusion angle, or a traditional jazz approach.

No one will ever accuse Szabo of trying to be the next McLaughlin or Coryell, and his lightly amplified picking / rambling style is apparent. The first two tracks, both penned by Szabo and encompassing the original A side, demonstrates a fusion leaning backup band, with complex rhythms and electric piano. On the flip side, Szabo slips back into his comfort zone with two soft affected orchestrated covers, while he continues to pick along on his guitar. Honestly I don't buy Szabo albums to hear him chase the voodoo down, so the easy listening stuff is fine with me. He also tackles Shostakovich in a hotel grand ballroom sort of way. Someone has to provide the background music for the ice sculptures while being unveiled. Bachelor Pad music for the 1973 set.

Ownership: 2025 CTI / King (CD). Booklet with liner notes in Japanese. Acquired in 2025.

12/8/25 (review)

  

Rambler (1974)

Standard issue Szabo album with lightly amplified acoustic guitar strummed over instrumental jazz rock. Bassist Wolfgang Melz is the centerpiece of the album, having written five of the six songs. His playing is also very noticeable. The title is a good description of Szabo's style. Not one of my favorites from him.

1974 CTI (LP). Gatefold. Acquired in 2024.

7/23/24 (review)  

Bacchanal (1968)

Bacchanal isn't quite as hypnotic as the albums I know from him during the same period which include the aforementioned Dreams as well as High Contrast and Gypsy '66, two albums I skipped over for documentation but do own. That said, it's still highly enjoyable. It's his usual mix of covers and original compositions, though in this case it's 75% of the former. Lays down a groove and Szabo picks away on his lightly amplified electric guitar. A timeless formula.

Ownership: 2006 Skye / Muzak (CD). Papersleeve. Acquired in 2024

First copy: 1968 Skye (LP). Acquired in 2023.

12/18/23 (review); 8/4/24 (update)

Dreams (1969)

My big score from the Denver Record show. Five bucks (yep) and a very nice copy at that. I beat the Rocky Mountain showrunner to it (the other Denver show), who subsequently shook his head wildly and went "DAMN!". It was from a wacky old lady who almost refused to sell it to me. She yelled "You're just going to resell it!!". I promised her I would not, that I really wanted it for my collection (all true). It took about five minutes of prostrating myself before the court before she relented. Jeesh. This is proof positive the best stuff goes when the dealers set up. Even the early entry fee guys missed out. We'd already set up and JL took the tables while I wandered around (as per protocol). 

OK, lots of talk about how I obtained it, but what about the music? It's classic 60s Gabor Szabo for sure. I love his guitar style and the groove of the jazzy backdrop. It's light but intoxicating. And how about that cover? I need to find a place on the wall for it. But I would have to remove the price tag. Can't do that.

Ownership: 1969 Skye (LP). Gatefold. Acquired in 2023.

10/28/23 (review)

Macho (1975)

As noted on one of the other Szabo reviews, I'll buy any of his albums, no questions asked. And to date I've kept them all, this one no exception. 

My notes from the next album Nightflight stated: "...Everything about it screams the era from which it came...Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe." 

That could work here, though it must be said that Macho seems more put together. Macho is a very soothing album, and the funk and disco elements are mostly muted. This was a known jazz guitarist beginning to branch out into new mediums. Full eight piece band with lots of invention.

---11/17/25

I've moved back to one of my older philosophies of collecting, that of selling commodity LPs and bringing in more scarce CD reissues. Szabo sells well at the shows, and I have no nostalgia here. Besides I appreciate his sound in clear digital form. Some of his LPs, however, are going nowhere. And you can guess at least one. :-) Using history as my guide, these Japanese CDs will likely skyrocket. You can get them dirt cheap now, for those of you so inclined.

Ownership: 2025 CTI / Salvation / King (CD). Booklet with notes all in Japanese. Acquired in 2025.

First copy: 1975 Salvation (LP). Acquired in 2022.

12/16/22 (review); 11/17/25 (update)

Gabor Szabo Live with Charles Lloyd (1974)

This is a strange little title. If you've been keeping up with this blog you'll have noted I've become something of a Szabo nut. So I'm buying everything I see - and once again this one was languishing in a thrift shop. Not sure how any album with a cover like this goes unnoticed, maybe I got there right after they put it out? Well it's not rare or anything.... The weird part of this is the title itself. Charles Lloyd is on about half of one of the four songs - it's the one he composed ('Sombrero Sam'). Guess Szabo needed his name to sell the album? I didn't realize one was more known than the other. It's a nice track with some fine flute from Lloyd. The selling point for me is 'Stormy' and here the flute is more fiery - this time from woodwinds specialist Tony Ortega. Meanwhile Szabo does what he does - finger pick his lightly amplified guitar. If there was ever a time for him to plug in and wail, it would have been this album. Guess that wasn't to his taste. Pity. 

1974 Blue Thumb (LP). Acquired in 2020.

11/6/20 (review)

Nightflight (1976)

I don't know a lot about Szabo's discography, but I found Nightflight to be very engaging. Everything about it screams the era from which it came. Had I not known better, I would have presumed the album to have come from France, as the sound here isn't that far removed from some of the artists you'd find on the Cobra label for example. In some ways, it's a bit too pre-packaged. The occasional strings and disco beat only underscore this point. On other tracks, one will hear a heavy funky racket in the background, with wah-wah guitars and tribal rhythms. Enter in Gabor Szabo, who then proceeds to jam over what appears to be backing tracks. His tone is that of a lightly amplified electric guitar, and sporadic acoustic guitar. Some of his solos are sublime, while others don't belong at all, adding to the strange vibe. And Szabo sings too - at least I think it's him - in the grand ill advised tradition of other jazz fusion artists like Tony Williams and Al Di Meola. Still, the compositions are well written, and the melodies stick out in a good way. I can live without 'Funny Face' and 'Theme for Gabor', but the other five tracks are super.

Overall the album captures the optimism of mid to late 70s Paris. Richard Pinhas would later also celebrate jet-setting across the pond, except his vision turned Szabo's upside down into a nightmarish fiery inferno.

Ownership: 1976 Mercury (LP). Single sleeve. The inner sleeve has an advert for the Mercury stock of artists, in addition to a rant on the "dangers of home taping". Acquired in 2019.

12/22/19 (review) 

Other albums I own: Gypsy '66; High Contrast

Albums previously owned: Magical Connection (not in good condition, need to hear again)

12/22/19 (new entry)