2026 Fusion / Jazz Journal Vol. 4

*Stanley Clarke. Epic (CD) (1974). I've had this title in and out of the collection, both LP and CD, going back to 2014. This listen convinced me to keep it. The music is an extension of where Return to Forever was on Hymn of the Seventh Galaxy, and one could see this being the album released instead of Where Have I Known You Before if Bill Connors had stayed with the group on guitar. Jan Hammer and Tony Williams certainly play in a different style than Corea and Lenny White, giving it a different dimension. This isn't as much a "solo" effort as his later works. He does sing on one track which is more cute than offensive. Solid prog fusion album. Thought about creating a page for Clarke, but for now I have three albums in the journals, which seems to be the right place unless I continue to add more. (8/16)

Lonnie Liston Smith - Exotic Mysteries. 1978 Columbia (LP). As with A Song For The Children, I'm including this title in the journals for now. I have one of his classic titles here ready to be listened to, and I'm expecting to build out a page at that time. Exotic Mysteries starts off with an upbeat disco number, once again alienating his built-in audience. But hey, everyone was doing that back then, including Donald Byrd (noting the white pants while at it). This is followed by a mellow tropical jazz number that wouldn't be out of place on a 60s era Sergio Mendes album. Very pleasant. The third track goes in for jazz funk, with enough edge (credit goes to the rhythm section for this) to keep it out of the smooth jazz category. The title track captures a beautiful groove with some wonderful melodies. Donald Smith's flute juxtaposed against Smith's echoed electric piano is divine. Side 2 continues in a similar fashion, demonstrating the opener is an anomaly. I didn't get into the compositions as much here. They are certainly very good, though it fell just short of keeper status. For my tastes the clear highlight is A4 with A2 coming in above the bar. (8/7)

Fusion Juice - First Taste. 2006 Digital Dream (CD). Another quarter bin find. I picked this up because Fusion Juice is a dumb name, sports a sexy cover, are a local Denver area band, and perhaps I may have found a new hot jazz fusion album. Uhh... no. From the very first few seconds, it becomes apparent this is not the next Mahavishnu Orchestra or Return to Forever. First Taste clearly falls into the smooth jazz category. You know the sound. Funky slap bass, digital synthesizers, saxophone, lightly amplified guitar, and danceable rhythms. The musicianship is high, the creativity is low. All the same, the music is easy to listen to and isn't a bad way to drop 40 minutes or so. I can totally picture the scene of this band and the CD. Imagine a cool evening at a Colorado mountain club, sitting outside taking in the atmosphere. Grab a couple of alcoholic beverages and immerse yourself into the smooth textures of the band. A few kind folks then feel obligated to purchase the CD they have on hand, take it home, and maybe listen to it once. And then it finds itself in a thrift shop. "Why did we buy this again?" asks the aging couple as they downsize before retiring into their condominium. Even the track 'Guitarmageddon' is lightweight. They really should have let loose at least once. The only surprise this album had for me was the date. I was certain it was from the 90s until I looked at the CD. (4/22)

* - Keeping for the collection

2026 Fusion / Jazz Journal Vol. 3

Dissidenten - The Jungle Book. 1993 Wordly Dance Music (CD). This is exactly the kind of CD's I look for in the 25 cent bins. Originally known as Embryo's Dissidenten, the group's premise was to take the blueprint of Embryo's Reise and expand upon it. Catalogs of the day promoted Sahara Electric as the next level of world fusion (and I of course fell for it). Not really. For one, there wasn't a rock component, which was the key reason Reise was such a strong effort from Embryo. Dissidenten largely falls under the vague World Beat categorization. One can expect lots of ethnic taped samples among the beats and rhythms. Sahara Electric was all about Morocco. The Jungle Book is India. Oftentimes the music comes across as gimmicky and annoying. Though it's not without merit. It's a serious effort, though one wishes for more angst and variety. Roman Bunka does guest on guitar, but his contributions are mostly muted. The label name is indicative of the contents within. (4/19)

Jaco Pastorius. 1976 Epic (LP). Famed jazz bassist Pastorius' debut album. The opening is essentially a bass solo, so I'm already looking for something to do. 'Come On, Come Over' is straight up funk with Sam & Dave on vocals, and a full horn section. 'Continuum' is a moody atmospheric piece in the ECM mold. A4 is the expected fusion number that has finally arrived. With orchestration. The side closes with another bass solo. The track by track descriptions point to the usual problem of solo albums - that of random style choices. While no doubt most artists like to demonstrate that they have more tricks up their sleeve than what they're known for, it can also be frustrating for the listener who isn't necessarily all-in with the artist. Side 2 is similarly disparate. The album enjoys high ratings from the general population, despite my misgivings. Hardline loyalists? Died early syndrome? No telling, everyone has their filters. Good jazz oriented album - of course it is - but nothing that grabs this listener beyond the usual. (3/8)

Don Randi & Quest - New Baby. 1990 Sheffield Lab (CD) (1979). As is often the case with the Sheffield Lab label, interest in this title has more to do with the recording details, and audiophile sound, than the music itself. I pick up anything I see from the label, and ask questions later. This title was listed as jazz funk, so I held it back for a future listen. And that day has arrived. The first track had me questioning both the jazz and funk tags, as it's more from the new age school. But once the title song lands, then yes, jazz funk is correct. It's definitely of the era, with some nice piano (both acoustic and electric) from Randi, along with trumpet, flute, and sax. Soft on the ears, it makes for a pleasant Saturday afternoon listen. Requisite Beatles cover provided. A little more depth would have resulted in an album that invites repeated plays, and thus would have been put in the keeper category. I'll go ahead and grab the profit on this one. (3/7)

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

2026 Fusion / Jazz Journal Vol. 1

Matrix - Tale of the Whale. 1979 Warner Bros. (LP). Last year I wrote about Harvest, their late era big band jazz rock 1981 album. On Tale of the Whale the Wisconsin based band were still, remarkably it would seem, on a major label. The music is a mix of jazz fusion, funk, and big band. Much more on the jazz side of the equation than Harvest. More soloing as well. No highlights to speak of, though as I listen through, it seems like ECM would have been a better fit for the album. Pleasant though non consequential. The last track has some killer bass work. (2/5)

Robin Crow - Electric Cinema. 1992 Rendezvous (CD). We were in the middle of nowhere Arkansas, and one of the thrift shops had a great deal: 10 CDs for $1. 10 cents a piece for those that struggle at math. I found a few goodies right away, but then I needed to fill in the rest. Then I saw Robin Crow. No idea who he is, but he's featured on the front cover with a double neck guitar. I looked him up and it said he performed CCM - Contemporary Christian Music. Hmmm. After finding nothing else, I reluctantly tossed this on the stack. Much like David Diggs that I featured last year, Crow may be a mover and shaker in the CCM world, but this is no CCM album. It's instrumental jazz fusion all the way. With a progressive rock slant. And none other than fellow Christian music traveler, Kerry Livgren, is one of the participants. One of the tracks is a cover suite - that encompasses Yes, U2, and Pink Floyd. A very well done fusion album. Had Crow brought just a bit more edge to the proceedings I would have kept this. But there's no more room for just very good fusion albums. I have too many as it is. Interesting to note that he thanks Compassion International as a cause he truly supports. Their headquarters is a stone's throw from Casa UMR, and the Mrs. and I run their well maintained dirt trails sometimes. (1/23)

Dixie Dregs - Free Fall. 1977 Capricorn (LP). Dixie Dregs, from Miami, are a band I've chosen not to write about in the past. Their albums come and go through Purple Peak Records, but I can never generate any enthusiasm surrounding them. I don't have a rating on their debut, so might as well at least get some notes down about it. I have an old friend that absolutely adores them, much of it going back to his own youth. Time and place, I talk about that often. I didn't have that history, so there's no nostalgic pull for me. Their albums are something like a jazz fusion hoedown. The musicianship is at a very high level, though I'm not a big Southern rock or Country guy, so the melodic quotient score goes down. That's personal taste versus an issue with the band's approach or performance. I definitely understand why they are popular. I found the second side more preferable. (1/22)

*Horacee Arnold - Tales of the Exonerated Flea. 2011 Wounded Bird (CD) (1974). One of the more heralded of the early 70s heavy fusion albums, drummer Arnold's second and last solo album gathers up some marquee names and let's loose a fiery set of jazz rock tunes. Jan Hammer, John Abercrombie, Rick Laird, Sonny Fortune, Art Webb, Ralph Towner, and many others contribute. The compositions are on the high energy side, which I consider a plus. Track 2 is a banger. I'd heard this album back in the day, but it struck me as rather ordinary fusion. Which it may be, but in the context that was 1974, that's still a high compliment. Mahavishnu Orchestra and Weather Report fans would me amiss not to check it out. CD adds one very good undocumented bonus track, which is more jazz oriented than the fusion based album. (1/5)

The following are jazz albums that I've been finding around town for $1 or less. Not necessarily in my interest wheelhouse, but they make for fine late evening listens. I'm not rating or reviewing these anywhere, since it doesn't seem the right thing to do. I'm keeping some of these for now, though probably not permanent. Any titles that capture my imagination will be rated and elevated to the primary collection. This is an ongoing project.

*Sonny Clark - Leapin' and Lopin'. Blue Note (CD) (1962)

John Coltrane - Stardust. 1997 OJC / Prestige (CD) (1957)

*Miles Davis - Round About Midnight. 2001 Columbia Legacy (CD) (1957)

*Cal Tjader - La Onda Va Bien. 2003 Concord (SACD) (1980) This one I rated. Excellent.

Jack McDuff / Joey DeFrancesco - It's About Time. 2003 Concord (SACD) (1996)

* - Keeping for the collection

2025 Fusion / Jazz Journal Vol. 3

*Jukka Linkola Octet - Jazz Liisa 06. 2016 Svart (CD) (1977). I own this since it's attached to the Jupu Group - Jazz Liisa 05 album. However, I didn't consider it for the primary collection. I also didn't pen any notes from my initial listen in 2016. Time to hear again to see if my opinion has been altered. I've also heard Banana as part of my CDRWL project many years ago, but again, not too much recollection beyond my scribblings. As I immerse myself into the recording, it occurs to me this would fit perfectly into my current "jazz classics" project (see below). Not fusion or rock in the slightest, excepting maybe the last track, which has Maynard Ferguson overtones. Makes for fine, if unrelated, bonus tracks to the Jupu Group album (beyond Linkola's involvement on the former). I wouldn't pursue on its own though. (12/28)

*Hozan Yamamoto - Silver World. 1979 Philips (LP) (1971). Here's one I've been sitting on since late spring, having found it for 69 cents. After a quick scan, I knew it was something I wanted to hear. I just needed the right moment, since I knew it would be a peaceful and tranquil jazz. After a hectic day of digging, I needed to chill out. Ah finally, how about listening to Silver World and wind down that way? Yamamoto plays a shakuhachi (a type of bamboo flute), and he's backed by a trio on piano, bass, and drums. In this context, Yamamoto comes across as a Japanese Lloyd McNeill. A deep spiritual feeling permeates throughout. It's more serene than McNeill but the atmosphere is similar. The B side is a bit more energetic. Pianist Masabumi Kikuchi composed five of the six songs with the other from Charlie Mariano. I haven't kept too many Japanese not-fusion jazz albums in the past, but I think I'll hold onto this one. (12/7)

Frank Zappa - Zoot Allures. 1976 Warner Bros. (LP). Let's start off Jazz Journal Vol. 3 with yet another mixed bag effort from Zappa. Opener 'Wind Up Workin' In a Gas Station' is pretty much what you can expect from the silly side of the man. Has a nice hard rock riff though. Then of course he follows that up with an amped up bluesy fusion track that's great. A3 is the longest song. A dirgey blues number, mostly annoying with the moans and groans, but features some fine guitar soloing (of course). And so it goes. Other guitar fronted instrumental highlights include B2 and the atmospheric title track. (12/2)

---

The following are jazz classics from the 50s, 60s, and 70s that I've been finding around town for $1 or less. Not necessarily in my interest wheelhouse, but they make for fine late evening listens. I'm not rating or reviewing these anywhere, since it doesn't seem the right thing to do. I'm keeping most of these for now, though probably not permanent. Any titles that capture my imagination will be rated and elevated to the primary collection. This is an ongoing project.

*Bill Evans - Interplay. 1987 OJC (CD)
*Sonny Rollins - Saxophone Colossus. 1987 OJC (CD)

*The Dave Brubeck Quartet - Time Out. 1997 Columbia Legacy (CD)

*Bobby Hutcherson - Happenings. 2006 Blue Note (CD)

*McCoy Tyner - Song For My Lady. OJC (CD) 90s pressing.

Ornette Coleman - Tomorrow is the Question (CD)

*Dexter Gordon - Go (CD) Blue Note

* - Keeping for the collection

2025 Fusion / Jazz Journal Vol. 2

*Frank Zappa - Waka / Jawaka. 1995 Rykodisc (CD) (1972). I've debated putting up a page for Frank Zappa, but I don't think I can do the guy any justice. Everything I have to say about him, I've already documented in another journal entry for the Grand Wazoo album. As his albums roll in here, I think I'll just put them in the journals. Maybe if I compile enough of them, and have something unique to offer, I'll consolidate. In any case, Waka / Jawaka represents one of my favorite albums from Zappa. His first truly jazz rock album, 'Big Swifty' starts the opus off with a bang and never lets up. Though Zappa always had the chops of a jazz player, it's here that the music reflects this the most. It plays more like a Miles Davis album from the same era. My pick is the title track, as Zappa also had a knack for writing wonderful melodies. Of course, this being Zappa, he had to throw in a couple of goofball tracks to prove (endlessly it appears) that he was not a serious fellow all the time. Yea, we got that Frank. Would have been nice for him to show up like a professional jazz rock musician for 40 minutes just once. Oh well. I'll take the 29 and toss the 7. Strangely I have yet to find this on vinyl. When I do, I'll swap out this rather mundane CD reissue that I've owned for many years. (10/20)

*John Coltrane - A Love Supreme. 1996 Impulse (CD) (1965). About every ten years I pull this CD out of my collection for a revisit. I first picked it up at a used shop in Springfield, Illinois while there on business in early 2000. It was a transformational time for me from a career standpoint, and this album came at the perfect time in my life. From the opening notes you know it's a special album. The atmosphere is exhilarating. I'm not sure I'll be creating an artist page for Coltrane because I sense many of his works will be beyond my reach. And even this album goes beyond where I want to be, especially what would be side 2 on the LP. But A1 and A2 is just about perfect. Despite hours of digging, I have yet to luck out finding any Coltrane on LP beyond Ballads, which bizarrely I also found on reel to reel, and is the version I kept. Oh, and that collaboration with Don Cherry that I reported on a couple of years ago (and sold). If I do find A Love Supreme on vinyl, it will be my keeper forever copy, but this tri-fold digipak CD is lovely with a fine short history too. (10/6)

Lonnie Liston Smith - A Song for the Children. 1979 Columbia (LP). I know nothing about Lonnie Liston Smith's solo works, which appears to be my misfortune. Smith's background contains a brilliant resume of sitting in with many jazz A-listers throughout the 60s and early 70s before striking out on his own. And if RYM is accurate, this album seems to be the only one to avoid. Just my luck. But for 69 cents, I can't go wrong. After desecrating my stereo with TKO's Let It Roll, doesn't this sound sweet? I can guess why this album gets the cold shoulder. Disco. At least the first track (and last song as it turns out). Sounds fine to me. This is followed by a softer new age styled jazz. And then onto a jazz funk number. B3 features some beautiful electric guitar, almost Santana-ish. In reading about his more revered albums, A Song For the Children seems to be of a similar style throughout minus the opener and closer. Probably more ear friendly and less edgy. Great keys from Smith augmented by a fine cast. If this is his worst then I'm in for some good music going forward.) (9/4)

Mark Isham - Castalia. 1988 Virgin (LP). A former friend of mine was a huge fan of Mark Isham during this era, but I never derived much from his albums. Maybe now I'll have a different perspective. Nope. Isham exists in the slightly jazz, new age space. Very peaceful late night sounds, with Isham providing muted trumpet. The bass tones are warm and elongated, and the keyboards are plastic. David Torn is here on guitar but you would never know it. Fine album in the genre, but ultimately too sleepy for me. (6/20)

*Matrix - Harvest. 1981 Pablo (LP). As I stated on The 45 Revolution about their last recording from 1982, a very obscure SP: "From Appleton, Matrix had a relatively successful career, obtaining major label releases on both RCA and Warner Bros. I've heard a couple of them, but don't recall the contents and didn't keep either around." Harvest would prove to be their last LP, released under the radar on the jazz imprint Pablo. The music here is one that I've gravitated to of late, that of big band jazz rock. Similar to Buddy Rich and Maynard Ferguson. More towards the former as there aren't any one solo protagonist. The music displayed is complex yet easy on the ears. Anachronistic for 1981, though some of the tones were contemporary. Unique enough album to hold onto I think, and I'll put the 45 in there as well. (6/9)

Jan Garbarek Group - It's OK to Listen to the Gray Voice. 1985 ECM Germany (LP). A few seconds in and I instantly recognized the shimmering tones of David Torn's guitar. While that was a pleasant surprise the album remains in Music Noir mode for its entire length. More ECM Style Jazz targeted to the adults in the room. It's all well and good, but way too sleepy for me. I'd rather hear the legends from the 50s and 60s doing this kind of smoky jazz. (5/20)

Mark Colby - Serpentine Fire. 1978 Tappan Zee / Columbia (LP). Mark Colby's debut comes from a time when it seems every jazz musician, balding or not, got their 40 minutes of fame. This is the Bob James / Jay Chattaway show, bringing together all the same guys you'd here on a Maynard Ferguson album and many others. And the music is similar. To be clear, the music is very pleasant to the ear. In fact this troupe seems to be competing against the CTI guys for who can be the smoothest. Yet this isn't smooth jazz as we know the term via the Kenny G lens. With a name like Serpentine Fire, one might expect an intense fusion. But it's nothing of the sort. I think some more edge would have secured its place in the collection. (5/16)

*David Diggs - Elusion. 1978 Blue Jay (LP). Found this at a thrift shop recently and it looked intriguing. Once I saw it had value on Discogs, I added it to the stack. In hearing it for the first time, the appeal is immediate. Heavy instrumental jazz funk is the music with emphasis on biting electric guitar, electric piano, Moog synthesizer, and creative rhythms. Trumpet, sax, and flute round out the sound. Excellent production too. So who is this guy? He has a lot of solo albums and he's also part of a group called Good News. Contemporary Christian Music that would be. And some of his other works are described as Smooth Jazz. Christian Smooth Jazz is not a magnet for the buyer. But you would never know any of this after seeing and hearing Elusion. It's not message based, and the music is just as good as Donald Byrd in a similar phase. One to look for when you see a Heyseus Creesto drop at the thrift shop. (5/1)

Fuse One - Silk. 1981 CTI (LP). As soon as I saw this at a record store in their buck bin, I knew it was something I'm taking home to check out. It features an all-star cast of jazz fusion luminaries, and there are only four long tracks. Complete with an old fashioned bullet-proof gatefold cover, which had long gone the way of the dodo by 1981. The music didn't disappoint, that of a very smooth funky fusion. Silky as the title suggests. Like an updated mid 70s typical CTI release. Unfortunately it wasn't very distinctive either. This kind of music had been played out already, and this almost seems like a cash-in job for a bunch of jazzers needing some extra revenue. I admire the effort, but it's one too many for my collection at least. (4/21)

*-Keeping for the collection

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

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.

2024 Fusion / Jazz Journal Vol. 3 - Complete

*Jimmy McGriff - Tailgunner. 1977 Lester Radio promo (LP). From T&R sale (Aug). Of all the albums from this haul, this is the one I was most looking forward to. And I was rewarded with the best listen in the stack (along with a metal album that you'll see whenever I publish that journal - it was a very eclectic sale). McGriff is well known as a soul jazz Hammond B-3 player, sort of like a friendlier version of Larry Young. By the 70s, he'd hopped onto the jazz funk train like everyone else. Four out of the six tracks are written by the songwriting team of Brad Baker and Lance Quinn and they are all aces. Fantastic melodies, good grooves, and fine soloing. The title track even sports a hard rock edge that is quite appealing in this setting. Guitarist Jerry Friedman's Bullfrog is a fun track, also with a strong rhythm. However this was in the era when everyone was trying hard for a signature dance tune. And "Dancing The Bullfrog" didn't make the cut lol. McGriff's one composition closes the album and is arguably the weakest track here, harkening back to an earlier era but with a disco beat. To make a great salad, one needs to do more than pour new dressing on old lettuce. Very nice gatefold cover too.

*Yamashta / Winwood / Shrieve - Go. 1976 Island (LP). From a thrift shop (Jul). All these years and I still hadn't heard this album. It's much better than I thought it would be. A strange combination of high flying fusion and electronics, with some art rock thrown in. Al Di Meola gets in some mean licks and Klaus Schulze brings his signature synthesizer sounds. The art rock sections recall later era Far East Family Band. This is an album I think I'd rather have on CD. I'll keep an eye out for a cheap copy of the Esoteric release.

*Milt Jackson - Sunflower. 1973 CTI (LP). From the same place as the Hawkins (Jul). I usually don't get very excited when knowing an album is jazz with vibes in the lead. But on Sunflower the album is more moody, and the vibes remind me of how they are used in Krautrock at times. Freddie Hubbard's title track has a great melody too. Features an all-star cast of jazzers.

Coleman Hawkins with Kenny Burrell & Ray Bryant - Soul. 1962 Swingville Stereo (LP) (1958). From an estate sale warehouse (Jul). Pleasant jazz jazz.

Herbie Hancock - Secrets. 1976 Columbia (LP). Thrift shop find (Jul). Still heavy on the funk though some of the tunes are becoming caricatures of the sound. Nevertheless a solid entry for the genre, but I have way too much of it as it is. 

Cannonball Adderley and the Bossa Rio Sextet with Sergio Mendes. 1968 Capitol (LP) (1963). Thrift shop find (Jul). I've become a huge Bossa Nova fan, and in particular I really enjoy Sergio Mendes. But this album is way too friendly in a jazz standard kind of way. Doesn't have the melodic magic of Mendes' later works. Maybe it's just the sax playing - doesn't translate well.

Bobby Timmons - Workin' Out! 1965 Prestige (LP). Beautiful original copy found at an antique mall for a fraction of going rates (Jul). More trad jazz with Johnny Lytle's vibes all over it. Pleasant but not my thing.

* - Keeping for the collection

2024 Fusion / Jazz Journal Vol. 2 - Complete

Michael Urbaniak - Body English. 1976 Arista promo (LP). Same garage sale (Jun). Side 1 seems stiff but I like the period sounds of Side 2. Almost a keeper but perhaps too slick and glossy.

Miroslav Vitous - Majesty Music. 1976 Arista promo (LP). Back to the garage sale (Jun). Solid fusion album from Czech bassist. Opening track has fuzz bass and that would have served the album better had he kept using it.

Jaco Pastorius - Invitation. 1983 Warner Bros. (LP). From a local antique mall for $1 (Jun). The opener I recognized from Maynard Ferguson's Primal Scream album. A wonderful 70s styled TV soundtrack composition. I'm not a huge "bass as a lead instrument" guy unless it's Zeuhl, and that's a different use altogether. Highly regarded album but doesn't sway me much.

*Larry Young's Fuel - Spaceball. 1976 Arista promo (LP). Same sale as below (Jun). A much stranger album than I had realized in the past. High creative and sounds like something that may have come from France during this era. There's elements of funk, jazz, disco, and prog throughout. Within the parameters Young boxed himself in with, it still sounds fresh and unique. Jazz and fusion fans aren't too keen on Young's departure from the norm, but I'm enjoying it immensely.

Airto - Free. 1979 CTI promo (1973) (LP). Same sale as below (Jun). Side 1 is an excellent variation of the early 70s jazz rock sound, deftly adding Brazilian touches. Side 2 starts with a free improvisation, hence the title. The last two tracks are on the happy side of jazz. Overall still very good, but only half an album for me.

*Isotope - Illusion. 1975 Gull promo (1974). (LP). Recently scored some minty jazz and funk albums (mostly promos) from a local garage sale all at very cheap prices (Jun). New member Hugh Hopper takes over with his fuzz bass and leads a very fine set of jazz fusion tunes. I've always liked this album but now appreciating even more. +1 listen.

Allen Youngblood - Selah. 1984 Griot (LP). From a local antique mall (Jun). Once I saw Julian Priester listed, I figured this might be a piece worth considering. And it was. Sort of a late era spiritual jazz release. A bit too traditional for me to keep, but glad I picked it up. Seems to be a price riser too.

*Stanley Clarke - Children of Forever. 1973 Polydor (LP). From a local antique mall (Jun). Much more personal than his later fusion works. Even a Magma vibe can be detected in the wordless voices. A solid release and the best I've heard from Clarke.

* - Keeping for the collection

2024 Fusion / Jazz Journal Vol. 1 - Complete

Atmospheres - Clive Stevens & Friends. 1974 Capitol (LP). Antique mall find (May). Imagine Mahavishnu Orchestra with a sax player. It's the latter that creates a bit of a wedge between me and this album. When in melodic mode, the album displays its talent. But there's a lot of skronk and squeak here that gives me a headache (literally). Borderline keeper, just a bit too much noise. 

*Wayne Shorter - Speak No Evil. 1999 Blue Note (1966) (CD). This and the Dolphy came from a thrift shop find in the Kansas City area (Oct 2023) and just now getting to hear them (May). This is more my kind of jazz. In fact this is exactly the kind of jazz I want to be hearing at a dark lit Italian steakhouse. Highly melodic, rarely out of control. I get some of the same vibe that I do from Miles' Kind of Blue. Strangely I don't own too many albums like this, so I'm keeping this one.

Eric Dolphy - Out to Lunch. 1999 Blue Note (1964) (CD). I really wanted to like this since everyone else seems to. Sometimes I think people feel obligated to like something, then write their justification as to why they agree. I can understand the allure for certain. A talented musician, a tortured soul who wasn't long for this world, releases an album that was radical for today much less the year I was born. Doesn't mean I find it enjoyable. Unfortunately. (May)

Julie London - Nice Girls Don't Stay for Breakfast. 1967 Liberty (LP). The next four albums came from the Rocky Mountain Record show (Apr). I've had a few London albums come through here, but I never exhibited the patience to hear them, anxious to gain my profit. The $2 dealer at the show had a few, including a couple in incredible condition (usually her albums are fairly beat, especially the covers). So I grabbed those two, both new to me. Recently I went on about how much I enjoyed Helen Merrill's debut. London and Merrill were peers with the former being far more commercially successful. This is the well that Diana Krall drank from. As for this album, how about that title? Breathy and sensuous, London gives us 10 perfunctory songs that all pretty much sound the same. For 1967, this album was already out of date, though the culture that surrounded it lasted well into the 1970s. It was the wink-wink oversexual days when most men and women were abstinent against their will. Had this title come out in 1956, it would have been hubba hubba. The beginning years of Playboy and the like. By the free love years of the late 60s, it could only be considered quaint and charming. Ironically wholesome, when that wasn't its intent at all. I can pass on this title, but I'm sure there will be a couple in her canon I'll keep.

Hidehiko Matsumoto - The First by Sleepy. 1977 Toshiba (Japan) (LP). If I see a Japanese jazz album for less than $10, I'm buying it. This one was $5 from the show, so an easy decision. Pretty much a standard 50s / 60s styled jazz combo with Matsumoto playing sax with a little bit of flute. Nothing I need at this stage but a pleasant listen. Matsumoto's nickname, fwiw, was Sleepy. This title did come out in the US, but this is the Japanese original. (Apr)

Julie London - Sophisticated Lady. 1962 Liberty (LP). Another London from the two dollar bin at the RMRS. Perfect follow up to Motorhead. Heavy on the strings, this is music for the hotel lobby at some stuffy Gilded Age 1800s hotel in Manhattan. You can just smell the smoke coming through the restaurant while you fumble for change at the payphone. Call your boss - dialing fast, cutting your finger on the metal: "I just sold 300 boxes of saddle shoes to Miller - how fast can we ship? ... 3 months!!! That's not gonna work". Time for a mixed drink before heading home on the A Train. (Apr)

*Dave Valentin - Land of the Third Eye. 1980 Arista GRP (Japan) (LP). Late in my high school years, I used to go to sleep listening to our local jazz radio from North Texas State University (now known as University of North Texas). They're a very famous school for jazz and classical musicians. Their Lab Band is considered one of the best in the world and they have some sought after albums too. Most of the jazz the station played wasn't really to my taste, though hardly offensive. Good for the purpose of putting me to sleep. Even today, I prefer this music as background in restaurants, but not necessarily for sit down listening. One exception I recall was Dave Valentin. I've always enjoyed flute, and his infusion of Latin culture adds to the spice. Hard to miss this cover. I'm usually buying anything with an obi at $5 (same RMRS table), but this is one I didn't look up its value because I wanted to hear it regardless. I've seen Valentin's albums in the bins before, but this is my first try at hearing one. With a cover of two vixens on the front, I thought it might be a bit disco-y. But that title is certainly intriguing, as are some of the others. The opener 'Sidra's Dream' sold me right away, with a most engaging deep groove. 'Fantasy' is my favorite Earth Wind & Fire song, and I like Valentin's interpretation. I found all the tracks pleasant to very good, save A3 which was more commercial in nature. It is a flute jazz album - and after awhile, it's too much icing on the cake at once. I don't have too many albums like this, and A1 is brilliant, so I'll keep it. (Apr)

---collection revisits

Fred – Live at the Bitter End. 2004 World in Sound (1974) (CD). High energy Mahavishnu inspired instrumental fusion. Violin leads galore with some good guitar thrown in. Decent non-soundboard live recording, though organ is completely flushed out and overall a bit tinny. (Feb)

* - albums I kept for the collection

2023 Fusion / Jazz Journal Vol. 1 - Complete

*Yusef Lateef - Jazz 'Round the World. 1964 Impulse. Stereo original press. Of the few jazz albums I found in the Colorado mountain interior, this is the one I was most looking forward to hearing. It wasn't quite what I expected, but all the same, it's going to be the keeper of the bunch. Essentially the concept here is to take traditional sounds or songs of a region and jazzify them. 'Yusef's French Brother', for example, includes snippets of 'Frere Jacques'. I preferred Side 2 as Lateef switches over to flute from saxophone. Overall a fine work, and the way I discovered it will likely keep it around longer than normal. (Aug)

John Coltrane / Don Cherry - The Avant-Garde. 1966 Atlantic mono. This is one of the albums I inexplicably found for a dollar in a Colorado mountain town (Aug). The title could almost be considered exploitation. Recorded in 1960, this is most certainly not avant garde for either artist by 1966. But it works well as a post bop jazz album. But it's not free jazz either, that which I doubt I'd enjoy more, but you never know. This isn't anything I need to keep.

Joe Zawinul - The Rise & Fall of the Third Stream. 1968 Vortex. Found this pre-Weather Report LP for a $1 at a thrift shop in the Colorado mountain interior of all places, along with two other relatively rare jazz pieces (to be discussed soon) and a mono The Freewheelin' Bob Dylan. All in great condition. Sometimes you get lucky like that. As for the music, the only Third Stream album I consciously know I've heard is its most famous proponent: Don Ellis' Electric Bath. I found Zawinul's album more jazz and less classical than that effort. It's a fine album overall, though there isn't enough here for me to keep. (Aug)

Brand X - Do They Hurt? 1980 Passport. Curiosity killed the cat. Or alligator in this case. After regaining an appreciation for Brand X's classic albums, how about a go for their B-listers? Naw. Do They Hurt? is a decent fusion album, but all too typical of the era without any surprises or peak moments. At times it sounds like a Percy Jones solo album. Too much bass really. Goodsall's guitar is way too subdued. (Jul)

Airto - Fingers. 1973 CTI. Another one from the Austin show. This checks a lot of boxes for me: Brazil; Jazz funk fusion; Thick gatefold on CTI. Airto's name is somewhat ubiquitous throughout the 70s and 80s (same with his wife Flora Purim). Despite that fact, this is the first time I've heard an Airto solo album. It's quite good, sounding like Sergio Mendes on a fusion bender. The songwriting isn't very compelling however, at least compared to the dozens of albums I have like it. Yet one more album I would have kept in the last decade, but that ship has now sailed. All the same, I'll definitely pick up (most) anything else I see by him, as I'm sure he has a gem or two that I will enjoy at a higher level.(Jul)

Eberhard Weber - Later that Evening. 1982 ECM/Warner Bros. More adult jazz from Weber. Always pleasant, never satisfying. (Jul)

*Vince Guaraldi Trio - Jazz Impressions of Black Orpheus. 2002 Analogue/Fantasy (SACD) (1962). Earlier in the year I found a large stash of SACD's for pennies at an estate sale, which are always great for resale. Most were classical, and we held back a couple of the less expensive ones for our happy hours. Almost all of them are hybrid, so you can listen to them on any CD player. There were a couple of rock titles that sold in about 10 minutes. But the few jazz titles were pure SACD, meaning I couldn't play them, so I put them for sale. Including this title, until I realized that it was a hybrid. This is a well known piano trio album, and even won awards in its day. I wish they'd play this at restaurants instead of the awful pop music we sometimes have to endure. Guaraldi later when on to fame and fortune with his soundtrack to the Peanuts TV cartoon specials. Unfortunately he passed away in his late 40s in 1976. Not to end on a bummer, this constitutes my very first SACD for the collection. Eh, why not? (Jun)

Rare Silk - American Eyes. 1985 Palo Alto. When I first heard this on a scan, I thought it was a New Wave album. As it turns out, it belongs to vocal jazz. The production and instrumentation scream middle 80s. I struggled to get through this one. Not a bad album, but outside of my interest area for sure. (Jun)

Larry Nozero Quartet - Island Fever. 1981 MSI. Found this private album from Birmingham, Michigan (Detroit suburb) at a thrift shop a few weeks ago (Jun). Very obscure release. A very nice and pleasant background styled jazz, with Nozero providing flute and saxophone. The former has a fairly large presence, so it's curious he only credits himself with saxophone. It's traditional jazz otherwise with piano, standup bass, and drums providing the backdrop. A little more depth and spirituality ala Lloyd McNeill would have made this a keeper. Too crowd pleasing for me.

Full Moon. 1972 Douglas. Picked this up at a store in Pueblo (Mar). I recognized the name Buzz Feiten (cool name) from some obscure Japanese CDs I found at a thrift shop a couple of years ago. Full Moon's debut comes at the very beginning of the jazz rock movement and the instrumental portions here are excellent. But it's a 50/50 proposal that also includes quite a bit of bluesy soul crooning that isn't very enjoyable to me. Borderline keeper, but I have enough quality jazz rock here to last a lifetime. I needed just a little more from this title. Incidentally all the reissues come from Japan, indicating that Feiten is highly revered in that country.

 * - Keeping for the collection

2022 Fusion / Jazz Journal Vol. 2 - Complete

*Carpenters - Close to You. 1970 A&M (LP). Pulled this out of What's Left for $1 (Dec). I see this album all the time in the thrifts, but usually not in the best condition. I had a copy prior that I gave to a friend. Anyway I get all weepy with this title. 'We've Just Begun' just slays me every time, hitting on some core nerve of innocence from my 5 year old self. And it's never been fair (at all) to pair up Bacharach and these two siblings. Sentimentality overload! Has anyone ever listened to that last Richard Carpenter piece 'Another Song'? What the hell? Sounds like Krautrock, and Karen is bashing the drums like Klaus Schulze's sister, not Richard's. What did Nixon say? "Finest young group in America is going to entertain us tonight. The Carpenters ladies and gentlemen." Wow. Bet they didn't play 'Another Song'... Crate digger tip: The white label promo version of this album goes for big bucks. Since I learned that little tidbit, I've inspected the label from scores of copies, but never have yet seen one. It is indeed scarce.

Pharoah Sanders - Love Will Find A Way. 1978 Arista (LP). Thrift shop find (Dec). You're not going to find too many people who say this is the Sanders album to buy. Though one could argue it's his most accessible work. Smooth jazz and disco are not the qualities Sanders brings to the table. It starts off pretty nice actually but the material runs thin after awhile. And it gets almost irritating by the end. The general populace ranks this as his low point. 

Junior Vega - Images of Music. 19?? Variety (LP). Interesting recent thrift shop find (Dec). Trumpeter Vega plays a compendium of Latin jazz styles including Samba, Bossa Nova, Mambo, Bomba, and Guajira. Mambo is about 40% but I'll be damned if I could tell you much of a difference between them. Blindfolded I doubt I could identify even the Bossa Nova track, a genre I've become very familiar with in the last 3-4 years. He's backed up by no less than 11 musicians. This one is a borderline keeper, as it has a very satisfying sound.

Oriental Wind - Live in der Balver Hohle. 1978 JG (LP). Collection revisit (Sep). Back in 2001 I was taking chances on ebay for any interesting looking jazz rock records, mostly European. This was long before the CDRWL, YouTube, and other outlets provided to me. If I saw something at a good price, that appeared like I would enjoy it, I would pop for it. Oriental Wind was somewhat typical of the style of albums I was buying. This is a very fine world fusion effort, with spirited Turkish drummer Okay Temiz leading the Swedish quintet through a serious of extended workouts. Musically I'm reminded of Embryo's later jazz efforts (many years after this) and some of Aera's work, in particular the saxophone playing. All in all, falls a bit too much into the jazz playing field for me to grab ahold on, though my rating remains the same (very good). 21 years on from that first listen and I don't think this one will make the cut, even though there are no reissues. Bar keeps getting higher.

Krzysztof Zgraja - Laokoon. 1981 Polskie Nagrania (LP). Collection revisit (Sep). Same as the above, purchased near the same time for the same reason. And like Oriental Wind, my rating remains unchanged, but this isn't really much in my wheelhouse. Laokoon is hardcore flute jazz, well done for the style, and certainly isn't pop influenced fluff. But it's not avant garde either. This title, however, did manage to get reissued in 2018. So if I change my mind at least a copy can be attainable. 

Anna Margarida - Anna. 1968 Vault (LP). Recent thrift shop find (Sep). Since I restarted my crate digging activities in 2019, two types of music emerged as new styles of choice for me: funk - especially jazz funk - and bossa nova. Ms. Margarida is of the latter. From Brazil, naturally enough, this is her primary album. It's very soothing and well done. However it's a bit too orchestrated and syrupy for me to want to go extra rounds with it. So it falls short of the Sergio Mendes bar. Not enough tequila in this Margarida (just had to write that didn't I?). 

Chakachas - Jungle Fever. 1972 Polydor (LP). This ended up being a disappointment. I had a rare single by these Belgian guys (captured here on UMR) and thought a full album would be pretty cool. I expected Latin Funk or even some Latin Rock. What you get is Latin Jazz. Pretty much the same kind of music Rene Bloch was doing a decade prior. Nothing wrong with that of course, just not what I'm looking for. Closing title track is by far the best thing here. Oh well, can't win 'em all. (Sep)

*Rafael Moreira - Acid Guitar. 2005 Music Magnet (CD). Thrift shop find (Apr). With a title like that, there was no way I'm leaving it behind. I have no idea who Moreira is, but this is one superb album. Acid Guitar is not exactly what I expected though. In fact I was afraid it would be one of those nauseous guitar feedback overload albums like we hear coming from Japan. It's nothing of the sort - rather it has a bit of funk and Bossa Nova mixed in. The latter an homage to Moreira's native Brazil. There are some sublime psychedelic guitar moments as well as hard rock. A wonderful surprise on what appears to be a mostly unknown CD. A CD I might add that is a private pressing that comes in a first class 6 panel digipak.

* - Keeping for the collection

2022 Fusion / Jazz Journal Vol. 1 - Complete

Dave Grusin - Discovered Again! 1976 Sheffield Lab (LP). I'm always interested in hearing things on the audiophile label Sheffield Lab, and Grusin is an excellent candidate for the imprint. Pretty decent smooth jazz, with a little bit of that early 70s TV soundtrack sound still left. Good on the whole, but inessential. (Mar)

Quincy Jones - You've Got it Bad Girl. 1973 A&M (LP). Similar to the above actually, but even more constrained and saccharine. This one is way too polished. Last year I picked up Smackwater Jack (1971) for the first time, and enjoyed that title better. (Mar)

Streetlife. 1981 Black Gold (LP). Ah, this ended up being a bummer. I was very excited to find this for $3 at a local store (signed no less). I'll buy anything on the collectable Black Gold label out of Albuquerque, New Mexico. Two of my treasures of the collection were released by them: Message (hard rock) and Genre (jazz fusion). Looking at the cover I thought I may have found something like the latter, or perhaps even a soul or funk album. No such luck. The cover, as it turns out, is truly indicative of the music. It's jazz vocal revival music, the sort of thing one would hear in the 1940s and brought back by the likes of Diana Krall in the 90s. Nothing wrong with that of course, just not what I'm into. It'll sell though (it did). (Mar)

RMS - Centennial Park. 1985 MMC (LP). Long ago I had an associate who would determine how good an album was by who was on it. A "names guy" I'd call him. Well, he'd certainly love this album then! Why RMS indeed stands for Ray Russell, Mo Foster, and Simon Phillips. No need to listen to the album - it's great! Ha. In any case, Centennial Park is a fine instrumental fusion album with decent guitar from Russell, but it has 1985 written all over it. The tones are cheap and the compositions are somewhat ordinary. I think if I didn't already have dozens of albums just like it, I would keep it. But enough is enough. (Mar)

*Ruphus - Let Your Light Shine. 1976 Brain (LP). Seems I've been on a Ruphus kick of late, but it's pure coincidence that this album came along after hearing the first two recently. I've had those on LP for many years, but never owned this title. Like with Release Music Orchestra's Get the Ball, you'd think this album was readily available, but it's surprisingly elusive here the States, at least at a decent price. Finally secured one online at a fair deal. This is where Ruphus switches gears from being a prog band to a jazz fusion group. The music is a superb example of the Euro fusion movement of the time, and the piercing female vocals of Gudny Aspaas adds to the allure, though requires a mental adjustment. On this listen, I was most reminded of Embryo's Bad Heads and Bad Cats, a major compliment indeed. (Mar)

Jack DeJohnette's Directions - Untitled. 1976 ECM (LP). I was hoping for a rough jazz rock album here similar to early Rypdal or Abercrombie. Well, not quite. This definitely isn't "ECM Jazz", but it is most certainly "Jazz". I could have gone for a rawer edge, similar to some of the greats from around 1970, but this one plays it safe for the most part. Oh well, not the best week for my jazz rock / fusion collection. (Feb)

Stanley Clarke - School Days. 1976 Nemperor (LP). Standard issue - but very good - fusion album from one of the legends of the genre. Followed the pattern of the day with a pastiche of styles, from heavy electric, to soft acoustic, and everything in between. Sometimes albums penetrate deeper into our psyche depending on when we hear them. For me, this comes too late, after absorbing many albums like it. But certainly a very fine album for the style. (Feb)

Art Lande - Rubisa Patrol. 1976 ECM promo (LP). Another ECM styled late night noirish jazz album. Peaceful and soothing. Though credited to pianist Lande as the marquee, it's just as much Mark Isham's album as well. He contributes half of the compositions and his muted trumpet is the dominate instrument. An old friend was a huge Isham fan, so I heard a lot of his work 30+ years ago. It was too tranquil for me then, and I still feel that way - at least on Rubisa Patrol. Borderline keeper, but have to draw the line somewhere. (Feb)

*Rainer Bruninghaus - Freigeweht. 1981 ECM / Warner Bros (LP). Bruninghaus was the keyboardist extraordinaire for Eiliff, so I was most curious how this solo album would turn out. It was only a couple of bucks, so why not? First off, this is nothing like Eiliff or has anything to do with Krautrock. And yes, it is most certainly "ECM Jazz", so we're all adults now. Mostly it's an atmospheric album with Bruninghaus' soothing piano and Kenny Wheeler's Flugelhorn, backed by scattered drums, oboe, and English Horn. It's very well done, and calms the nerves nicely. It's side 2 that really draws you in, as the music becomes more cyclical and entrancing, while Bruninghaus introduces more synthesizer to the mix. The 12+ minute title track is a whopper. Sounding all the world like Klaus Schulze's 'Crystal Lake' as a backdrop to the soothing jazz up front. Brilliant really. The US press translates the titles on the back cover (but not the label) to English. The title track is set to mean 'Set Free By the Wind', which tells me it's not a straight translation ('Blown Free' would be that), but an interpretation. I like the album's take because it fits the music perfectly. Wonderful surprise. (Feb)

Egberto Gismonti - Danca das Cabecas. 1977 ECM (LP). Acoustic based world fusion album from Gismonti. More towards proto New Age than "ECM jazz". Reminds some of Pat Metheny's acoustic works, also on ECM. It's not a bad album, but not very enjoyable either, at least for me. More academic than interesting I'd submit. (Feb)

Urban Ensemble - The Music of Roland Vazquez. 1979 Arista GRP (LP). This was a pleasant surprise. Somewhat standard fare late 70s fusion but with a full stage band behind it. Great horn charts. Think something along the lines of an instrumental Earth, Wind and Fire minus the soul and disco. Or, maybe more to the point, Caldera. (Feb)

* - Keeping for the collection

2021 Fusion / Jazz Journal Vol. 4 - Complete

Double Image. 1977 Inner City (LP). From a store in the Denver area (Dec). At this point of my life, I'm going to pick up anything on the Inner City label, as they have some hidden gems for sure. I suspected this wasn't going to be for my taste, and I was correct. And the primary reason is the lineup itself. The lead instruments are vibraphone and marimba. And that's your namesake "double image". A little tuned percussion goes a long way, and a whole album of it is tiresome, but I have to say this was an enjoyable listen all the same. The primary reason is the backing band (bass and drums) is excellent throughout. One just wishes for a keyboard / guitar styled instrument to break out into a wild solo. Not going to happen here. 

Free Flight - Illumination. 1986 CBS/BFM (LP). From the 25 cent haul at Independent (Nov). I pulled this LP out because the cover looked cool and it had flute in the lead. What the heck, it's only a quarter. Once I put it on though, I knew it wasn't going to be for me. If someone blindfolded me and asked what year it came out, I would have said 1986. This is prototypical smooth jazz. I wonder if there will ever be a renaissance for the kind of tones the band achieves here? I never liked this sound, even back then. Did anyone? lol. In any case, the music itself isn't so bad, and I made it through both sides relatively unscathed. Average for the styled I'd submit.

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

2021 Fusion / Jazz Journal Vol. 1 - Complete

The following came from another estate sale just a couple of weeks after the below, detailed primarily in the Funk / Soul journals (Mar):

Eddie Harris - Is It In. 1974 Atlantic (LP). I've run into this album a few times now between thrift shops and garage sales, but always took a pass. I thought it might be one of those silly funk albums ("Is it in?" hoho), and the resell value is pretty much nil. Ah what the heck - maybe it's a great jazz funk album after all. Ummm... no. But it's not what I thought either. In fact, it's kind of a weird album. Those opening electric sax notes from Harris reminded me of Tim Belbe's work with Xhol Caravan - maybe this is something? Unfortunately 'Funkaroma' lives up to its goofy name. In this album you'll hear jazz funk, straight jazz, experimental bits, and everything in between. And that can usually make for a great album in my world. But nothing really clicks here. There were no "let me hear that again" tracks. I've heard enough to keep exploring Harris, but I'm not holding onto this. 

---end of sale

The following all came from a great score of jazz funk LPs at an estate sale (Mar).

*Billy Cobham - Crosswinds. 1974 Atlantic (LP). Crosswinds is a strong jazz rock/fusion effort, at times recalling his work with Mahavishnu Orchestra. John Abercrombie is a force here, doing his best to rival McLaughlin. Fine horns from the Brecker Brothers and Garnett Brown on trombone. Mixes in some mellow moments to give the listener a breather. A tad generic for the style, but still on the plus side of the genre.

*Harold Alexander - Raw Root. 1974 Atlantic (LP). Of all the albums in the batch, this is the one that I was most curious about. An intriguing cover with the promise of a deep groove flute driven music. I have to admit I wasn't sold after Side 1. It starts off auspiciously enough with a funky bass on 'Down Home', and there's some fine moments on 'De Black Magician' and its postlude 'Lady Euphoria'. But the money side is the flip. 'Street Life' is freakout flute city and some fine guitar from Junior Hanson (yes, the same dude who released two Hendrix-y albums in the 70s on Manticore). This style continues throughout the side, pushing this one into ownership category.

*Deodato 2. 1973 CTI (LP). Last year I picked up the promo 45 of 'Super Strut' at an estate sale, and was subsequently blown away. This has an even longer version of the cut. For all the rarities we constantly dig up, sometimes the best underground sounds can be found on a platinum seller. Guitarist John Tropea is absolutely on fire here. It's like the first Chicago Transit Authority and Isaac Hayes' Shaft, in that these mainstream albums have more freakouts per minute than is expected. I've enjoyed the more even popular Prelude for some years now, but Deodato 2 is actually better in my estimation. It's a misnomer by the way. Eumir Deodato's album output goes back to the mid 60s Bossa Nova scene while still living in Brazil. But most folks only know him for his association with a one Creed Taylor. My only wish is that Deodato would compose his own songs. 'Super Strut' is one. The other is the fantastic 'Skyscrapers' which also features Tropea going wild. Then we get the cover tunes. My problem with Deodato's covers is they are too familiar. He would be better served rearranging more obscure cuts. But no one can claim Deodato for not coming up with inventive arrangements. 'Nights in White Satin' also has a killer guitar mid-section that you would never have a chance to hear from the Moodies. Gershwin's 'Rhapsody in Blue' - which I always associate with United Airlines - is also much juiced up. The other track is a classical cover of a Ravel composition - is very stately - and somewhat out of place. Speaking of large ensembles, a cast of thousands played on this album. Comes in a nice gatefold. If you never thought to buy this - do so - it costs less than a hamburger, and I promise it will last longer.

---end estate sale (Mar)

*Joe Henderson - Black is the Color. 1972 Milestone (LP). With the Lateef's (Jan). The opener 'Terra Firma' gets things going in a positive way with a deep funk track, and a killer groove. Very Miles Davis like, substituting the trumpet for Henderson's sax. Special mention goes to David Horowitz's synthesizer, which interestingly recalls the Love Cry Want album. 'Vis-a-Vis' is the requisite hard bop number. Side B opens with an intense hypnotic groove. But alas 'Foregone Conclusion' is only five minutes long, and should have gone on for another 15. The title track provides the noirish soft piece. The closer deviates from the formula, as 'Current Events' is an experimental composition. Fine in theory, but it's pretty noisy to be honest.

Yusef Lateef - 10 Years Hence. 1975 Atlantic (LP). With the other Lateef (Jan). More Lateef, which I'm looking forward to. This title is a bit too standards/trad for me. More in sound than actual tuneage. Most of these are originals, with some stretched out pieces from his late 1950s past. The opener is the most interesting for me, with its trance like flute passages. A fine jazz album, but I can't keep them all. 

Yusef Lateef - Blues for the Orient. 1974 Fantasy (2xLP). Thrift shop find (Jan). This double LP set is a compilation and remaster of 2 albums: Eastern Sounds (1961) and The Sounds of Yusef from the Yusef Lateef Quintet (1957). It's an odd pairing as they don't really have a similar sound. As you may recall, Lateef is new to me, having found his 1969 Detroit album in RT's collection. Eastern Sounds has a cool mellow vibe. The Sounds of Yusef is very early in Lateef's career as a band leader. It is - as you might imagine - more trad jazz. There's some interesting avant garde ideas here, but for the most part the music moves away from where my interest in jazz lies. Of course it's very good for what it is, so don't pass up a chance to hear it if standard 50s jazz pushes your buttons. 

* - Keeping for the collection

2020 Fusion / Jazz Journal Vol. 1 - Complete

The Dave Kennedy Group - Joanie / Accidentally. 1960 Soma (SP). From RT (Dec). Weird one here. 'Joanie' is a typical pop ballad of the era with vibes - and all in reverb! It's trippy in its own way. Flip side is more typical lounge with female vocals.  They were from Milwaukee apparently.

Paul Winter Sextet - Jazz Meets the Bossa Nova. 197? Columbia Special Products (LP) (1962). From RT (Dec). This is the second Paul Winter Sextet album, and represents an early example of  Bossa Nova for American audiences. This is the style that Winter embraced to start in the music biz. This one falls to the instrumental jazz side of the genre, and lacks the melodies and pop sensibilities that made the style so popular only a couple of years later. Average on the whole. 

Phillip Upchurch - Darkness, Darkness. 1972 Blue Thumb (2xLP). From a record store in the Denver area (Nov). Definitely a good score to find this double album in the buck bin. I had forgotten that I did possess this on CD-R from years ago. My opinion, though, hasn't changed. Solid in the "good" category, though for me it's mostly a static and dull listen. Upchuch plays lightly amplified jazz guitar over a set of mostly cover tunes. It's not that far removed from what Gabor Szabo was doing, though the base selection of music is less interesting to me. Not something I need to keep.

Pat Metheny Group - First Circle. 1984 ECM (Germany) (LP). This was with the second Metheny found in the same batch with the below (Nov). Didn't have high hopes for this one considering I haven't been too keen on any of the other Metheny works prior to this. And on top of that, the production is soooo 1984. Slick as a butter dish and I would expect each album to come with a coupon for a Macintosh and a football card of Dan Marino. But this is a weird album really. Forgetting the opener which is kind of silly, the rest has a melancholic vibe one usually associates chill out music with. It's highly melodic, rhythmically complex, and the compositions are unusual. 

Steve Smith - Vital Information. 1983 Columbia (LP). This was in the 99 cent bin next to Pat Metheny (Nov). Steve Smith, of course, is most famous for being the drummer of Journey. So to release an all-instrumental fusion album during the height of his popularity was certainly an unusual move back then. It's a good fusion work and the guitars are surprisingly fiery at times, belying its early 80s date. All the same, it's an all too familiar sound, and I already have a couple of shelf fulls of similar. No need for another.

Pat Metheny Group. 1978 ECM (Germany) (LP).  Pulled out of a 99 cent bin of a record store in Pueblo (Nov). More adult contemporary jazz... fusion. I'll never mature enough for this style of music it seems, but have to admit it provided a pleasant mid-evening listen. Calms the nerves, while not offending anyone. 

Dusty Springfield - The Look of Love. 1967 Philips (LP). Thrift shop find (Nov). I'm a huge fan of the Bacharach song, and in particular Springfield's version of it. Unfortunately this is not the same version as the Casino Royale soundtrack. I was certain I would enjoy this album. Alas, something is not right with it - it may be the orchestration. The production is tinny and somehow Dusty Springfield actually sounds annoying, which I didn't think would be possible. Bummer.

*Artie Butler / Dionne Warwick - The Love Machine. 1971 Scepter (LP). Thrift shop find (Oct). This album fits perfectly into the world of Burt Bacharach and Dionne Warwick. It's got the right 60s vibe and sound. Great songwriting of course. It's a soundtrack to the movie rendition of Jacqueline Susann's trashy novel. Everyone presumed a Valley of the Dolls repeat, but it was a flop. But the soundtrack is great. 

* - Keeping for the collection