An excellent live document of Anna's "Dead Magic" album which dominates the concert. While this recording was released in 2022 it was recorded in 2018 the year "Dead Magic" was released. Recorded at Montreux Jazz Festival in 2018, in Auditorium Stravinsky. About two thirds of this is "Dead Magic" material with the rest coming from the previous album "The Miraculous". A seven piece band here with two guitarists and another member adding keys and percussion when needed. Anna's sister adds vocals, we also get bass, drums and Anna singing, playing organ and acoustic guitar.

I was a a little surprised that I only heard that dusty old organ on the opener "The Truth, The Glow, The Fall" and it's not that there isn't anymore on this record but it doesn't lead the way or standout much either. Her vocals are in fine form with those theatrical expressions and yells every once in a while. We get crowd noise and applause. It was interesting hearing that second track "Pomporipossa" from "The Miraculous" for the first time as it so reminded me of PINK FLOYD the way the sounds cascade downwards.They close the concert with the other "The Miraculous" track "Come Wander With Me/ Deliverance" at over 15 minutes.

My top three are all "Dead Magic" tracks including the opener I already touched on but also "The Mysterious Electra" and Electra is one of Anna's middle names and my favourite "Ugly And Vengeful" a monster at over 19 minutes and the centrepiece here. It has it all. Interesting in the liner notes that they grouped the songs into three sections with "Ugly And Vengeful" having it's own section "II" and the first three tracks "I" while the final two are the "III" section.

A solid 4 stars and the art work is beyond cool as it conveys the style of music Von Hausswolff plays so well.

A nice album by Iconoclasta's duo format!

Iconoclasta has to be one of the most iconic Mexican progressive rock bands ever, with over 40 years of existence and a rich amount of releases, they have definitely left their footprints and legacy on this musical genre. Bands and people are in constant change, and this time was not the exception, because after all the band members reunited some years ago for a wonderful 35 anniversary concert, they decided to put the band on a hiatus, knowing the different visions and life-plans each of the members had.

However, Ricardo Moreno and Greta Silva wanted to continue this project and accept the changes and all the challenges it implies, so now, as a two-headed band, they released in 2023 the album 'Alter-ego', whose title perfectly describes this new era. Released via Azafrán Media, it consists of 10 tracks and 2 bonus tracks, with songs composed prior to the pandemics (some reworks, actually), along with a couple of covers. Ricardo Moreno plays guitars, bass, keyboards and percussion, while Greta Silva plays bass and adds her great vocal skills.

Of course, since the first track 'La vida es...' we can appreciate the distinctive guitar sound Iconoclasta have provided for years, and with the vocals it seems that time has not passed and we are listening to the same essence they had since their 2009 release, the first one with Silva on vocals. I love 'Sacbé (Tributo a los hermanos Toussaint)', a heartfelt instrumental rendition to some iconic musicians from Mexico whose legacy in the jazz scene is undeniable.

The sound can be peaceful and tender, an example is 'Tita de Tito (Tributo para un gran hombre: A.E.R.), an instrumental composition that could work as a lesson for kids that want to enter to the musical world. But the album also brings some challenging moments where the prog rock essence is evident, like in 'Noche lluviosa de verano en Querétaro', which happens to be the longest composition, and, to my ears, my favorite track here. It is a challenging song and a proof that the duo compositional skills are intact, it has great changes in mood and tempo, it wonderfully flows and I particularly love the keyboard arrangements and the dymanic bass notes and lines. Great!

'Repítelo 28 veces' is a nice shorter track that takes us to Iconoclasta's 80's essence; and then the proggy soul returns with 'Viaje astral', which is to me another of the highlights of this album, and a proof of how great they understand each other in this new duo era because there is a moment where they share their skills with their instruments, creating passages full of freedom, like walking their own path, which at the same time, is the same for both.

'Manantial' is a rework from that classic track they released back in 1983, with their debut album. 'Hijo (dedicado a Albéniz Moreno) is a song they included in their 'Resurrección' album back in 2009, and one they used to play in their 35 anniversary shows (and before), so I recognized it right away and even sang what I remembered. A heartfelt and tender track full of love. 'No puedo ser lo que no quiero ser' is another rework, taken from their 1994 release 'De todos uno'.

The album finishes with 'Ejecución con final feliz' which is a nice fast-tempo track with a sound full of joy, so yeah, it represents its title.

There are two bonus tracks which are covers. First 'Fanrarria olímpica México 1968' originally composed by Carlos Jiménez Mabarak for the Olympic Games in Mexico; and then 'Storia o leggenda', original by Italian prog legends Le Orme. Both of them are very nice renditions.

Don't know if they plan to make new music as a duo, or if Baldovinos or Ortegón would comeback, but in the meantime, this is a nice album that can be appreciated by the band's fans.

Looking for music with no boundaries?

Asceta is an ensemble from Chile who would perfectly fit-in in that description. Formed in 2020, they have now released two studio albums where concepts such as avant-garde, chamber music, rock in oposition (RIO) lie, and though yeah, we could label their musical style, what they create is full of freedom.

For this second released entitled 'Erebus, la suite de las sombras', the 7-piece ensemble (and their two guest musicians) developed a 50-minute album where darkness reigns, where a somber and tense atmosphere leads the path to an spiritual realization. The album starts with 'Preludio' and yeah, I can tell they have been influenced by acts such as Art Zoyd or Univers Zero. The music sounds like a nightmare, however, there are moments of tranquility which, in fact, could be confusing, however this musical journey could be a simile to our own life journey.

'Pseudo-fonía del tormento' is an exquisite track where we can appreciate how good the ensemble understand each other, we can hear every of the instruments played in a great way, clean, pure and emotional. Violins, bassoon, cello, piano, drums and much more, all adding their grain of sound and also creating colorful moments, because though we can clearly listen to some obscure grey passages, there are several instants where their diversity of sounds provoke brighter atmospheres and color palettes.

'Concilio de brujas' is a beautiful and surprising track, because I thought it would be another passage where obsurity reigns, but no, here we perceive a shiny, cheerful meeting where calm takes over. Love the wonderful amalgam between strings and winds. But when the next track arrives, darkness and tension are implemented once again. This is an extraordinary epic track divided in two, first 'El hereje y el devoto' brings what RIO is about, music with no boundaries, with high quality and with a considerable amount of difficulty (both, to play and to dig). I love the music changes, so challenging, so full of quality and personality. There is a constant dialogue between the instruments, but I highlight the work of flute and clarinet creating the brighter side, while bassoon and cello defend the darker side. 'Profanos y arcanos' is quite interesting because it is a mixture of colors, nuances and emotions, we can create some images in our heads, I can picture a meeting of gods and ascetics, who are dialoguing in order to live in harmony. This is a great track.

'En lo alto y en el abismo' has a more vertiginous rhythm and sound, the faster the more tense, drums here are wonderful throughout the track, delicate but intense, fabulous. Of course that softer piano moment also caught my attention here, but later where the passages explode, it is exquisite to listen to the strings at unison developing the song's different episodes.

'Por sobre mi cadáver' is a great example of a proggy avant-garde track. I love its short and constant changes in tempo and mood, it can sound a bit chaotic, and maybe its intended, but what I love is their capacity of bringing brief moments of disguised tranquility and then embrace us with the chaos once again. The album finishes with 'La danza de los condenados' in which the rhythm in moments, represent a dance indeed, "dance of the damned", it could perfectly work for a silent film. So after the different passages of the album, where light and darkness where shared, the ascets have nothing left but accepting their fate, and live under Erebus' rules.

A great album from this Chilean ensemble. Applauses!

"Heir to Despair" is the eleventh full-length studio album by Japanese avantgarde/progressive metal act Sigh. The album was released through Spinefarm Records in November 2018. It´s the successor to "Graveward" from 2015, and the album features the exact same quartet lineup who recorded the predecessor.

As always Sigh have managed to incorporate new musical elements to their progressive blackened heavy/speed metal style and this time around it´s the inclusion of traditional Japanese instruments and the fact that Mirai Kawashima (keyboards, vocals, vocoder, programming, main composer) have learned to play the flute (and occasionally use it on the tracks like he does on album opener "Aletheia"), which are the most dominent new elements. There are of course other new adventurous ideas on the album, but if you´re familiar with the preceding releases from Sigh you of course wouldn´t expect it any other way. Kawashima just never ceases to amaze. He is such an incredible musical capacity, who seems to be able to do anything he sets his mind to (learning to play the flute before recording this album was probably a walk in the park for him).

The main vocal style is the usual raspy blackened snarling, but the extreme metal vocal style is complimented by both male and female clean vocals, vocoder parts, and a varity of choirs and backing vocals. In addition to the traditional Japanese music influence there is also a strong middle eastern music element featured on the album. The basic guitar, bass, drums rock/metal band instrumentation are combined with Kawashima´s different keyboards/synths/organ/piano layering and his classical music influences are heard throughout the album.

Avantgarde/progressive heavy/speed metal with raw snarling blackened vocals may be the best overall description of the music, but Sigh are as always almost impossible to give a label which makes sense for the reader. Compared to "Graveward" my ears tell me that "Heir to Despair" is a slightly more well developed and tasteful release featuring a sound production, which is also a step up from the sound production of the predecessor (it´s clearer and more powerful sounding). This album is even close to being accessible at times. As an example take a listen to the sophisticated and very melodic Iron Maiden influenced lead- and harmony guitars on "Homo Homini Lupus" or the uplifting and melodic rocking "Hunters Not Horned". Avantgarde music never felt this pleasant and easy going before.

When that is said "Heir to Despair" is still a complex and demanding release featuring many layers of instruments and vocals, and a generally unconventional approach to composing music. Most tracks have recognisable vers/chorus parts, but everything else going on are quite unique when heard in this context. Upon conclusion "Heir to Despair" is another high quality release from Sigh, who are still one of the most original and creative acts on the scene. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives).

Review Nº 769

Tako was a Yugoslavian progressive rock band formed in 1974. Tako is something unusual as a Yugoslavian jazz- rock and symphonic progressive rock band formed in those years. Those were years of difficult times to the progressive rock music in that country. Between 1974 and their split up in 1981 Tako released two classic progressive rock albums, their eponymous debut studio album 'Tako' in 1978 and their second studio album 'U Vr'ci Za Spavanje' in 1980.

Tako from Belgrade was perhaps next to Igra Staklenih Perli, also formed in Belgrade, the most famous progressive rock act from the former Yugoslavia. Their two albums 'Tako' and 'U Vreci Za Spavanje' were for a long time next to the first eponymous debut studio album of Igra Staklenih Perli the rarest and most sought album of the Yugoslav's progressive rock. A few years ago, both Tako albums were re-released on CD by the Brazilian Rock Symphony label.

Tako was formed in 1974 by Dusan 'Dule' Cucuz (bass guitar), Djordje Ilijin (keyboards), Sava Bojic (guitar and vocals) and Milan 'Mica Zorz' Lolic (drums). Initially, beside their own songs, the band performed Jimi Hendrix Experience and Santana covers. During 1975, they made their first demo recordings in the Radio Belgrade studios. In 1977, guitarist and singer Miroslav Dukic and drummer Slobodan Felekatovic replaced Bojic and Lolic. Tako became an opening band on a Bijelo Dugme tour. In 1977, Tako and the progressive acoustic rock band S Vremena Na Vreme organized a concert in Belgrade. Tako had a successful appearance at the 1978 Novi Sad Boom Festival. The band released their self-titled debut album in 1978. It featured prog music with some jazz influences. The album was promoted on a free concert.

Tako is purely a prog rock band. Spherical keyboard carpets are a source of inspiration from Pink Floyd, touches of distinctive heavy riffs stand for the aforementioned British rock tradition in the wake of Deep Purple & Co., while the band's remembers the tingling fusion variation of the 70's in time honoured jazz rock outfits. Tako have united on their debut album these three stylistic cornerstones to a really worth listening of Symphonic Rock, which can offer not only elegiac sound surfaces but also pungent rock inlays, which at times don't stop at discreet fusion outings. The music on 'Tako' is clearly attributed to the classic prog rock era of the 70's. The 'exotic' origin is recognizable only on vocals. The dominant instrument is the guitar. Sometimes even electric piano is in the foreground and provides for slight jazz influences. A few beautiful flute inserts are also available. Especially with 'Minijatura' it becomes apparent that the name of Jethro Tull was not unknown even in Yugoslavia. But that doesn't mean that Tako was a pure clone of the British prog rock bands, even though that the influence of other genre greats such as Pink Floyd is always audible.

'Tako' has six tracks. The first track 'Probudi Se' (Wake Up) is a marvellous piece that sounds really good. It's a very spacey track with a good tune and an excellent vocal work. It sounds to me a bit like Pink Floyd and Eloy, which isn't a strange thing to me, really. The second track 'Sinteza' (Synthesis) is more into the jazz-rock style with some nice piano parts. It's an excellent track, really energetic. It has some nice piano parts and the strange blues-like harmonica section adds to the track a very special feeling, indeed. The third track 'Utapanje Sunceve Svetlosti Pescanu Memoriju' (Merging Sunlight Into The Memory Of Sand) is a spacey piece where the band goes through several changes. It's a complex track very well played by electric piano, guitar and drums. This is a very interesting piece with several different parts, fiery interplays and some multiple breaks. It has a nice vocal section too. The fourth track 'Lena' is an easy instrumental piece dominated by flute. It's one of the most emotional and dramatic tracks on the album. All band's members made an excellent work here. The fifth track 'Minijatura' (Miniature) is the shortest track on the album. It's another flute dominated piece, which brings to my mind Jethro Tull. This is a piece with some very strong classical leanings. The sixth track 'Druga Strana Mene' (Second Side Of Me) is the epic track on the album. This is the centrepiece of the album. It's very spacey and incorporates diverse influences from the classic prog with several parts combined. The composition is very tight and well built, resulting to a magnificent and thrilling piece of inspired music.

Conclusion: 'Tako' is a classic prog rock album. This is a very good album very well played and without weak tracks. The instrumentation, vision and execution on the album are really great. It represents a very nice surprise to me that confirms all the good things I've heard about it. This is one of the greatest albums released in the East Europe when those countries were more or less separated of the rest of the world. When I heard this album it comes to my memory some of the greatest prog names, such as, Pink Floyd, Camel, Jethro Tull, Ozric Tentacles, Tangerine Dream and even the classical music of the Baroque period. So, this is a very good and interesting proposal. This is definitely one of the better albums by the Eastern European standards, at the time. It isn't a masterpiece but is great enough to be checked.

Prog is my Ferrari. Jem Godfrey (Frost*)

Brian Ellis is a gifted multi-instrumentalist as well as being a Producer and much more. He has a lot of hats. Brian is probably most known for leading ASTRA along with his buddy Conor Riley. They both closed that chapter and opened a new one with the band BIRTH which oddly enough is also the name of the first track here. It is an inspiring track so I get it. "Quipu" was actually ready to be released in 2008 when the record label he was on folded so it sat for three years until being released in 2011.

Brian relates in the liner notes that he had taken a new step musically with this one which would have been his third solo album at the time but the delay now makes it his fourth with him releasing "Yellow Light District" in 2009. He decided not to use any samples or sequencing, instead playing the instruments live in a more traditional multitracking situation. He mentions also in the liner notes that it was a very creative time for him and that this is some of his most unique work to date. Understatements abound here, this is a masterpiece. Ellis plays everything except the drums on the last three tracks which were done by David Hurley from ASTRA.

I'm trying to calm here but this is a huge discovery for me. Brian is a big music fan like all of us here are. He is into Jazz/Fusion, Psychedelic and more including Zeuhl. One person who wasn't calm in talking about this record is Julian Cope. He raves about this one and mentions that he thought of albums like "Devotion" by John McLaughlin, "Continental Circus" by GONG, "Agharta" by Miles Davis and he doesn't mention an album but he also mentions MAGMA.

Discogs has this listed under Jazz/Fusion and I agree that that is the predominant sound. Mostly from the gorgeous electric piano but horns too. And yes the sound of Miles is all over this and in particular the electric piano with the reverb and all the percussions bringing "Bitches Brew" to mind. We also get ethnic sounds and there's that psychedelic influence as well. And that final track will knock the socks off of Zeuhl fans it's called "Walomendem" and Brian does his best Blasquiz impression, okay not really but he's got that chanting down and he clearly has got the MAGMA thing going on. It's over 14 minutes long! On another solo album he covers "De Futura", just sayin'.

The 9 1/2 minute opener has ethnic sounds to opena dnend it. Sounds like sitar being played like a harp to start and then late it sounds like the cry of a zurna. Some Miles sounding stuff inbetween. "Canyon Star" is the shortest at 6 minutes and the organ gets the spotlight here it's also quite spacey earlier and so much going on. "Count To Ten" impresses late with the dissonant sax. "Funeral March" is one of the best and it feels like a march. The electric piano sounds so good.

"Gossamer" at over 8 minutes is the first to Have Hurley drumming along with the next two final tracks. You just have to hear this music. Check out "Gossamer" right from the start and that upfront bass, percussions, electric piano and more. Just too good. "Psaw" again bring Miles to mind like the last tune. All of the echo and reverb and it's like everyone is doing their own thing(okay Brian and David) but within the same atmosphere and eventually groove. Headphone music.

"Walomendem" ends it with Zeuhl and I like how Julian Cope ends his little review with a question to Christian Vander "What is Kobaian for extremely well done?" It opens with this distorted atmosphere that hovers before high pitched sounds arrive and suddenly I'm thinking during my first listen "Is this Zeuhl?" Then the wordless vocals arrive and my question is answered rather quickly and we're just getting started. Full blown at 2 1/2 minutes. Guitar is great here. This one is a ride folks and we're heading for Ork.

I can't wait to spend time with his 2011 release with a full band in play. As for this one, 5 stars is a given and the art work is pretty cool but better on the vinyl where the lower part isn't cut off like on the cd losing the full affect of it.

Initially chronicled on ProfilProg: POOR GENETIC MATERIAL explores rock by experimenting with sounds that are much more complex than one might think.

"Possibilities" symphonic entry with the organ, Philip's didgeridoo, Stefan's solo appetizer and the Floydian air; a gradual drift that flows smoothly. The Teutonic voice, you will have to get used to it; orchestral ambient break with rolling drums, latent bass for a sophisticated Oldfieldian moment before Pia's flute; of the crossover à la BARCLAY JAMES HARVEST. "Rain" a Hackettian arpeggio before the percussion entry and Dominik who gives it his all; the organ smells like that of BANKS; consensual ballad and chorus reminiscent of another from GENESIS second version; break which breaks the rhythm and sends on a tortured keyboard solo; flute and vocals for a soft return to the melody, a few touches of ALAN PARSONS and the airy, intoxicating chorus.

"A Spark of Ideas" the sound echoes, tune starting loud; the orchestration is meaningful, effective, a guitar solo behind it like TANGERINE DREAM did so well, bang oriental break, bluffing; the tune starts with a disconcerting bluesy guitar solo, warm with the Mellotron in the background; the nervous guitar brings the most, helped by Dennis' bass which keeps the direction; very good piece. "Old Buffoon" for the radio edit worthy of the BEATLES, the bucolic sound with Martin from BEGGARS OPERA on vocals, taking the tune to that of 'Seaside Rendez-Vous' by QUEEN, to the recognizable one of GENESIS, an Anglican title incidentally.

"An Island in Time" begins without waves; consensual tune, chorus by ALAN PARSONS; acoustic arpeggio and flute break, it smells of reminiscences of Mike OLDFIELD; the second break with a languorous Frippian guitar returns to the bewitching vintage sound; chorus with warm choirs then flute solo surrounded by roaring bass and metronomic drums; Stephan's guitar solo is complex, followed by a piano variation becoming the centerpiece playing with stereoscopic notes, crystal clear for the spleen moment; final tormented jazz-rock guitar solo à la AGUSA leading to "Contingency" with a PINK FLOYD tune; the flute appears supported by Dominik's demonstrative drums; tune from KING CRIMSON's 'Discipline' with Philip's languorous voice; title led by Pia to continue to captivate us.

A very successful album release this Polish band that sadly disbanded soon after its publication.

1. "Święto strachów" (5:10) (8.66667/10)

2. "Hej, pomóżcie ludzie" (2:45) a song with an anthemic chorus that sounds like it was probably a big hit in Poland. (4.5/5)

3. "Muszę mieć dziewczynę" (3:02) violin is prominent contributor to this one. (8.66667/10)

4. "Naga rzeka" (4:57) the flute-led instrumental passage in the middle is founded on a motif sounding very much like Carole King's "I Feel the Earth Move." Nice song. (9/10)

5. "Dziewczyna, w która wierzę" (3:44) great Latin-oriented CHICAGO-like beat and rhythm track supports some interesting choral vocals that sound like something coming from a Cuban brass band! Once again the motif used for the instrumental section feels borrowed. (8.75/10)

6. "Masz przewrócone w głowie" (3:28) sounds like a borrowed Aretha song usurped by macho men and a gospel choir. (8.5/10)

7. "Wymyśliłem ciebie" (2:59) half Bond cinema, half Chicago/Andrew Lloyd-Weber Jesus Christ Superstar. (8.75/10)

8. "Szczęście nosi twoje imię" (3:15) except for the John Coltrane-like soprano sax work, this one is very close/imitative of BLOOD, SWEAT AND TEARS. (8.5/10)

9. "Wołanie o słońce nad światem" (10:36) a not very successful blend of DOORS-like pop music with big band progressive jazz. I wish it weren't the case but this is the weakest song on the album--a blending of styles that feels more like a medley of hits than a prog/jazz suite. (17/20)

Total time: 39:59

More proggy and brass poppy than Jazz-Rock Fusion, it's very vocal-centric. I'm told that I would like this album much more if had command of the Polish language. Vocalist Anrzej Zaucha commands a very respectable voice sounding like a cross between Greg Lake and David Clayton Thomas. I don't like or approve of the band's habit of usurping music from big American hits for the instrumental passages even if they do have good taste in the song motifs they "borrow." It's masterful but hardly indicative of a band that wants to create their own compositions and sound--more like that of a cover band in the process of converting to/experimenting with original compositions.

C+/3.5 stars; a creative and synthesizing band of pop-oriented rockers whose music draws a bit too much from other artists. As musicians they are very good. Their excellent vocalist would go on to achieve martyr-legendary status after an early death.

George's second solo studio album release of 1974, this one containing a few guests who were not present on Faces in Reflection.

1. "Funny Funk" (5:18) George experimenting with more new sounds. (8.75/10)

2. "Love" (6:06) a partly vocal song featuring Frank Zappa using Ernie Isley's guitar tone. (8.75/10)

3. "The Once Over" (4:39) a spacey, moody HERBIE HANCOCK-like start before a mood change occurs in the second minute prompting a reset into rhythm-oriented foundation. The return to reverberating Fender Rhodes chords at 2:20 is interesting, but it remains a percussionist's song untill its RTF-like final second flourish. (8.875/10)

4. "Feel" (5:40) more vocals--this time with electric piano and synths backing them. At the end of the first minute the rhythm section joins in as George flies through a short but effective synth solo. Then we settle into a gentle, syrupy pop song that predicts the smooth R&B jazz pop music of GEORGE BENSON, NARADA MICHAEL WALDEN, and MICHAEL FRANKS. More extraordinary synth soloing over the Fender Rhodes-led rhythm track. Definitely a top three song despite its lack of jazz orientation. (9/10)

5. "Cora Joberge" (3:50) dynamic electric piano with delay effect eventually gets support from flourishes from synth and drums before funkified bass and steady cymbal play join in. Poor recording of "dirty" effected electric piano. There are parts of this that remind me of Terry Riley or somebody else in the pioneering phase of electronic keyboards. (8.75/10)

6. "Old Slipper" (5:41) funky jam with multiple keys filling the sonic field as well as serving as lead instruments. The multiple personalities of George Duke! Perfect syncopated support from Ndugu and John. Interesting but not very noteworthy. An unstable" synth note introduced around the three-minute mark signals the upcoming transition into a proggy and then Parliamentarian passage--the latter of which find Frank Zappa's very-distorted guitar jumping in and shredding away. (8.75/10)

7. "Tzina "(2:01) dreamy/spacey keyboard play from multiple keyboard instruments/tracks (including some strings emulator) results in a kind of cinematic interlude. (4.375/5)

8. "Yana Aminah" (4:33) Airto's wife, Flora Purim, graces this Latin song with her vocal tracks, singing in English. Too bad the lyrics weren't more poetic nor the layered vocal tracks more polished and better synchronized. Overall this sounds very much like a song Stevie Wonder would have written for his wife, Syreeta Wright. STill, it's a pretty decent song; George could very easily have had a career in writing/producing pop songs. (8.75/10)

9. "Rashid" (3:36) starts out as a KOOL & THE GANG or CAMEO kind of funk song, then turns a sharp left at 1:49 onto a speedway for a hyperspeed synth solo that plays out for the rest of the song. (8.66667/10)

10. "Statement" (1:15) another pretty little cinematic interlude sounding like something from Patrick Moraz's solo album, I. (4.5/5)

Total time 42:39

More of the same sound issues I had with Goerge's previous album (from the same year). I have to say that there has been a slight improvement in performance contribution from both Ndugu and John Heard.

B/four stars; another excellent album to add to any Jazz-Rock Fusion lover's music collection. Not quite as good as his other 1974 release, Face in Reflection, but still worthy of listening to (and enjoying).

The peak of George Duke's solo Jazz-Rock Fusion work.

1. "The Opening" (3:18) rollicking RTF-like racing music.. (8.875/10)

2. "Capricorn" (5:06) bluesy like a slavery field work song. I can feel the deep emotions being released. (8.875/10)

3. "Piano Solo No 1+2" (2:21) not really the piano I was expecting: a strangely electrified piano and ? piano? Nice music. Part two is definitely different and yet clearly a continuation of the same sound(s). (4.33333/5)

4. "Psychosomatic Dung" (5:03) funky schlock that will become all the rage within the next three years minus all the dynamics from the rhythm section. Ndugu gets some shine in the fourth minute before George lets loose on the wah- wah clavinet and Fender Rhodes. (8.75/10)

5. "Faces In Reflection No.1" (Instrumental) (3:37) nice foundation with some excellent soloing and sound use but lacking fullness and development. (Perhaps George should've had one more collaborator). Probably one of my top three songs. (8.875/10)

6. "Maria Tres Filhos" (5:09) this one not only sounds like a Chick Corea song, it may be! (It isn't: it's written by the great Brazilian songwriter Milton Nacimento.) Nice percussive work throughout from Ndugu but even more so during his extended solo in the fourth minute. (8.75/10)

7. "North Beach" (6:26) a long keyboard solo that sounds like wah-pedal rhythm guitar play and a bunch of sound effects. It's actually kind of cool. (8.875/10)

8. "Da Somba" (6:18) a song that races along on the power of the collective energy of all three highly-attuned musicians. John Heard's extended bass solo pales when compared to other contemporary bass players like Stanley Clarke, Buster Williams, Ron Carter, or Eddie Gomez. (8.75/10)

9. "Faces In Reflection No.2" (Vocal) (2:19) a final vocal supporting song--the tension here is quite cool--making the listener crave for more. My favorite piece on the album. (5/5)

Total time 39:37

Clearly influenced by Chick Corea's RETURN TO FOREVER releases, there is no arguing with George Duke's talent and skill. The biggest issues I have with the music on this album are in the sound recording and reproduction department as well as in the area of composition. Perhaps George needed an escape from the crazy control that was even the world of Frank Zappa. The heavy sound effects used on bassist John Heard's double bass seem to mimic those of RTF bass player STANLEY CLARKE. Leon "Ndugu" Chancler's drum playing is quite good but the sound engineering of his drums (not cymbals) suffers from a murky-muted compressed feel.

B+/four stars; an excellent addition to any Jazz-Rock Fusion lover's music collection. Definitely an album that gets better with repeated listens.