js Although “A Brand New State” is bassist Alex McLaughlin’s first album as a leader, he is hardly new to the jazz scene. Some artists he has worked with include Arturo Sandoval, Kurt Elling, Matt Wilson and even comedian Sandra Bernhard. Alex’s reputation has to be strong because he was able to pull in some A-listers for help, including Tina Raymond on drums and Jeremy Siskind on piano, but probably the most well known name on here is Jeremy Pelt on trumpet. The influence of Miles’ mid 60s quintet is heavy on this outing, which could be said about many modern post bop albums, but Alex and his crew do a better job than most when it comes to matching the open-ended approach of the Davis band. Much like Miles, Alex and his band mates don’t necessarily mark steady time, instead, the drums are part of the ongoing musical conversation and the rhythm tends to ebb and flow with the soloists. Likewise, chord changes are not always adhered to strictly, as the players pick and choose notes with a certain understood freedom. This is a very conversational band that listens intently to each other.

The music is today’s post bop with fusion influences and an overall abstract approach. On “Trailhead”, the band gets into a sort of jazz-rock heavy rhythm with Jeremy Pelt channeling Freddie Hubbard style aggressive trumpet attacks. Siskind can recall Herbie Hancock at times and this is evident on “Signals” where his laid back soloing is reminiscent of Herbie’s “Speak Like a Child” opus. This number also features Pelt using a mute for more Miles type sounds. On “The Solar Punks”, Siskind gets into some large block descending chords that may remind some of Craig Taborn.

Towards the end of the album, the band gets a little more bluesy and straight ahead with “El Polvo” carrying some Thelonious Monk abrasions as well as some of Siskind’s best piano work on the album. “Trial” continues the hard bop orientation and album closer, “Elevation”, was inspired by Joe Henderson’s “Isotope”.

Carmel They say time heals all wounds, that wine tastes richer with age, and that old jazz records mellow into something unforgettable. In Jeff Rupert's world, "It Gets Better" isn't just a title, it's a mantra that echoes through every note. Rupert has long established himself as a saxophonist with a gift for weaving personality into every phrase. Whether leading his own ensembles or collaborating with icons of the jazz world, Rupert's tenor saxophone voice is unmistakably warm, robust, and expressive.

With "It Gets Better," Rupert offers an album that leans into the timeless language of jazz with inventive hues of modern structures expressed in an expressive rhythmic flow. The result is a journey that starts with swagger, flows through expression, and blooms into exuberance before winding down with a sense of cadential acceptance.

At the heart of "It Gets Better" is a quartet that functions as a true collaborative unit. Joining Rupert is the legendary pianist Kenny Barron, with his elegant touch and harmonic wisdom. Peter Washington's full, resonant bass lines provide a foundation of agility and warmth, while Joe Farnsworth's time-keeping drumming ranges from masterful brushwork to driving swing rhythms.

This hard-bop gem, "Petrichor (in the Cote D'azur)," opens the album with strut. Rupert's warm, expressive tenor delivers the head with an energy that feels like a call to adventure. His solo is created with expressive accents, placing his ideas squarely in the swing time pocket. The rock-solid foundation of Washington and Farnsworth supports Barron's piano solo as his elegance and energy capture your attention. Washington's bass solo is a study in fluidity and precision.

"Comanche Crush" is a medium-up Latin groove with seamless transitions that keep things fresh. Farnsworth's cymbal patterns shimmer, and the Latin-to-swing shift is executed with flair. Barron's solo takes off with rhythmic crosscurrents that ripple across the time feel. Rupert's solo is alive with lines that twist deftly through the changes, landing beautifully resolved ideas that add melodic suspense and satisfaction.

Here's where the blues takes center stage, "Lana Turner," a slow-medium traditional jazz form with a timeless feel. Rupert leans into the blues and swing jazz vocabulary with sweet vibrato and glissandos that echo the masters. Barron's solo brings in modern pentatonic flashes and clever substitutions, while Washington and Farnsworth lock in like a finely tuned engine, listening intently and responding with rhythmic finesse.

"It Gets Better" is set to a medium swing feel that thrives on interaction and groove. The catchy bass line and head create a platform for Rupert's flowing, legato phrasing. Farnsworth's brushwork is a standout, and when he switches to sticks midway through Rupert's solo, the energy is built to a thrilling climax. Overall, the subtle crescendos of dynamics underscore the quartet's collective performance and ensemble synergy.

A slow, moody exploration framed by a hypnotic rhythmic figure is the setting for "Pharoah's Daughter." For the solo section, Rupert's modal vocabulary is in full effect—his intervals and motifs are methodically developed, adding intrigue, and his articulations add emotional weight. Barron's piano accompaniment glues the harmony together with precision, while Washington anchors the shifts between the repetitive groove and swing passages with a resonant, woody tone.

This classic "Like Someone in Love" gets a fresh trio treatment—tenor, bass, and drums. Rupert's lyrical expression of the melody is filled with turns and embellishments. Washington's solo is melodic and grounded, showcasing his harmonic awareness, while Farnsworth's snare comping drives the trio forward with crisp, articulate phrasing. The fours between Rupert and Farnsworth unfold like a friendly sparring session—each phrase escalating the dialogue with wit and precision.

A modern Latin selection called "Nowhere to Go But Up" dances between feels before settling into a driving 6/4 swing waltz. Barron's rhythmic vitality in the waltz is infectious, creating playful tension with his two-against-three phrasing. Rupert's solo snakes through the harmony with bluesy inflections and striking intervallic leaps, each phrase reinforcing the rhythmic pocket while maintaining clarity of emotional intent.

"Not My Blues" is an up-tempo post-bop blues where the quartet's chemistry soars. Rupert's swing feel is impeccable as he locks into the buoyant rhythm section. Barron's voicings sparkle with harmonic clarity and rhythmic exuberance, while his ideas practically leap out of the piano in a way that feels as joyful as it is sophisticated. The ensemble's lively interplay makes this track an instant highlight.

The closer, "Promenade in Blue," is an exquisite ballad that starts with a relaxed sax-piano duet. Rupert's bends and falls add a touch of vulnerability and elegance. When Washington and Farnsworth join at the bridge, the texture deepens without overpowering the mood. Washington's lyrical solo reinforces the song's introspective beauty, and the composition gently winds down, closing the album with grace.

Throughout the album, there is a theme reflecting Barron's inventive phrasing, Washington's lyrical sense of time, and Rupert's expressive melodies, while Farnsworth adds rhythmic propulsion that gives the music a sense of direction. Together, this ensemble breathes life into every melody, rhythm, and improvisational exchange, delivering an album that thrives on spontaneity and impeccable communication.

Jeff Rupert and his ensemble offer a blend of hard bop, blues, and balladry, all delivered within an ensemble that brings forth emotional nuances. This is an album of journies where the improvisations feel organic, the ensemble interplay is sharp, and the production captures every nuance. "It Gets Better" is as much a lesson in ensemble communication as it is a heartfelt homage to jazz tradition.

Carmel Kenny Barron’s “Beyond This Place” is the real deal class in its modern jazz storytelling. The album features various ensembles showcasing Barron’s ability to shape harmonic landscapes and foster musical interactions. Released on May 10, 2024, by Artwork / PIAS, the album offers a mix of styles that speaks to Barron’s enduring artistry and piano expression.

The album opens with Barron’s elegant solo piano introduction, setting the mood for “The Nearness of You.” The ensemble’s performance is steeped in the warmth of the jazz tradition. Saxophonist Immanuel Wilkins’ rendition of the melody is expressive. Kiyoshi Kitagawa’s bass and Johnathan Blake’s drums enter, the bridge gains momentum, with Wilkins’ upper-register phrasing soaring above the rhythmic support. Barron’s solo captures a rich chemistry between the piano, bass, and drums, weaving agile melodic lines that balance grace and activity.

“Scratch” is an up-tempo swing that kicks off with Kitagawa and Blake locking in to create the pocket. Nelson, Wilkins, and Barron present the angular melody with precision, forming a cohesive front line. The solo section unfolds as a lively conversation, where the musicians pass the improvisational baton with a sense of playful interplay. Steve Nelson’s vibraphone solo is striking in its blending of rhythmic drive with vivid harmonic colors. Barron’s solo contrasts movement and stillness, flowing fluidly yet embracing moments of rugged phrasing that add rhythmic depth.

With its straight-eighth feel and subtle Latin undertones, “Innocence” paints a beautiful sonic portrait. The interplay between piano, vibraphone, and alto saxophone casts an ethereal hue over the flowing melody. Blake’s drumming is expressive and anchors the piece with a groove that propels yet never overpowers. Barron’s solo is a dazzling showcase of wide, multi-octave arpeggios that provide energy and uplift, a testament to his boundless technique and creativity.

“Blues on Stratford Road” is a medium-swing tune laced with New Orleans overtones. Nelson’s solo is a standout moment, brimming with passion and rich note choices that tell their story. The ensemble captures the essence of a hard-swinging style that mixes the swing of a gospel celebratory spirit.

“Tragic Magic” is a hard-bop gem defined by its driving swing feel, sharp ensemble hits, and well-crafted form. Wilkins’ solo exemplifies his ability to blend modern intervallic ideas with bebop-inspired embellishments, showcasing his expressive and technically fluid approach.

A spirited trio excursion of “Softly As in a Morning Sunrise” highlights Barron’s genius in a pared-down setting. His approach layers a moving melodic line in the lower register, intricate harmonic movement in the midrange, and fluid, expressive solo lines in the upper register. The trio’s synergy is palpable, with Blake’s drumming adding dynamic support and textural variety.

“Beyond This Place” captures Kenny Barron balancing introspection and exuberance across a thoughtfully curated set. Each ensemble has a defined cohesion that elevates the recording, making it a testament to Barron’s legacy as a consummate bandleader and performer.

snobb New York-based jazz/R'n'B singer José James's newest album, "1978" (his birth year), is a beautiful and elegant tribute to the music of his childhood. Containing all originals, the album can recall RnB sounds from the 60s and 70s, but it also has vibes that place it clearly in 2024.

The opener "Let's Get It" contains a string quartet and is a hypnotic aerial and percussive piece with a groove and vibe that may remind some of Al Green's laid back work for Stax. “Isis & Osiris” is a repetitive soul piece, sensitive and of fragile atmosphere. “Planet Nine” is funky, but still elegant, with a catchy tune. “Saturday Night (Need You Now)” is danceable and sexy,

"Black Orpheus (Don't Look Back)" is another in the Al Green direction and contains background vocals and beautiful guitar solos. "Dark Side Of The Sun" is a song with a more contemporary sound, it combines organically soul from the 70s with synth arrangements and Belgium-based poet Baloji rapping. "Place Of Worship" is a standalone piece based on international beats and containing Brazilian singer Xênia França vocals, besides José James' own.

"For Trayvon" is a ballade tribute to Trayvon Martin, with sensitive James' vocals over piano and strings. It is a beautiful and memorable melody as well. The closer, "38th & Chicago", contains Afro-Cuban percussion (from Pedrito Martinez) and another guitarist, Marcus Machado, with a lengthy solo.

The music, which connects past and present imperceptibly, may not be the most innovative, but probably the most beautiful album of this genre in the year 2024.

js “Brothers” is the latest album from veteran jazz and RnB drummer Towner Galaher and has him diving deep into the funk while citing some of his favorite 70s jazz-funk bands such as Tower of Power and Herbie’s Headhunters. The album is called Brothers because Towner has invited some of his oldest band mates, some going back 20 or more years, to join him on this journey back into their late 70s roots. B3 player Jimmy Sanders and bassist Randy Monroe were in Galaher’s first group, and saxophonist Craig Handy and guitarist Marvin Horne have been showing up on some of Towner’s later endeavors. All are capable soloists, but Craig Handy tends to get the lion’s share of solo space with his soulful tenor that may remind some of Michael Brecker or Bennie Maupin.

Many will recognize the song title, “Hit It and Quit It”, as a well known James Brown phrase, and this track has a definite JBs vibe to it, but Galaher actually got the beat for this one from Headhunter’s drummer Mike Clarke. “Piece of the Action” also carries that pure funk sound. Elsewhere on the album we get some variety with the Brazilian groove of “Rio-Lization” and the laid back ballad, “The Diamond Chalice”. “Cahva Bite” mixes things up with an alternation section in a 6/8 Afro-Cuban beat. Album closer, “Seventh Heaven”, is an organ based gospel flavored jam in 7/4 time. When handled correctly, 7/4 time has a built in momentum in that the last note of one phrase is also the first note of the next phrase. The overwhelming B3ness of this track recalls some of Billy Preston’s high energy instrumentals.

Moshkiae Jan Garbarek Eventyr 1981

With Nana Vasconcellos and John Abercrombie

Sometimes, I wonder if some of these things are really jazz, even though many of the players are almost exclusively jazz wisened and practiced.

This middle period of Jan Garbarek's is interesting ... not sure you can call it much of anything other than "ambient", as you never really get that feeling that the players are going to break out and jam on their instruments. With Nana Vasconcellos doing his thing on various percussive instruments, and John Abercrombie adding some very light (and beautiful) touches to what Jan Garbarek is doing, and the best part of it ... they keep it going, very smoothly.

This is a special album, for me ... the opening is one of the nicest things I have ever heard and felt ... it has a calling f some sort, and it sounds very lonely, and not quite desperate, but you can feel the emotion with the call. Soria Maria is a Norwegian tale, and even though we might not know what that story is, you get the feeling that you know it some by the piece of music. It's beauty is a bit on the side of the likes of a siren's call in the old greek stories, it has a bit of an inebriated feel to it, or at least a bit on the person being affected if not by stimulants, then by the desire to do what the hero has to do in the story.

It feels like you have been enchanted while listening to it ... forget music ... just close your eyes and see if you can find the visual for it ... I think it gives us the terrain and the majority of the feeling surrounding it. It was, thought of as a "new age" type album, but with all due respect, that is not even a good suggestion in my book. The music here is way and far above a lot of that stuff that was created simply with a name on it to sell, and had not half as much an image as the stuff in this album does.

The whole album is fantastic, and not of the pieces are weaker or not as vivid as any of the others, although none of them have the incredible wake up call that Soria Maria has, which is very strong, and gets stronger as Nana Vasconcellos augments the piece with some of his drums very lightly ... this adds a bit of "distance" to your view of it, but it does not take away from the piece, the story of which has some long voyages.

The title, as it turns out, and I did not know it until I tried to look for a definition just as I am writing this is defined as "a bold or exciting undertaking or experience" ... and well, I think that is all you need to know to enjoy this album of fantastic music. It is a far out experience, and not always something that many of us take on, specially with a soundtrack!!!

The long pieces, (Soria Maria, Eventyr, Once Upon the Time, East of the Sun and West of the Moon) are all the special things here, and just about, all you need to listen to, but please don't do that ... this album deserves a full listen, as the smaller pieces might be thought of as simpler ... with the longer pieces all "a story" and it is my thought that it was Jan Garbarek's idea to tell a story, with the playing, and I think it succeeds well ... most jazz is not about a story ... it is ... here we go, and then each person does their thing and meet up somewhere in the end ... but here, as a piece is coming to an end, you want more ... even though I kinda think that some folks might consider this whole album a bit somber ... a soundtrack for an imaginary story ... a fable from the Norwegian history.

An album worth having, if you are a fan of folks experimenting well and trying to do something different than just play notes and chords a la jazz style ... this is about the mood and its continuation here, that defines this album ... and if you like that ... this is just fine.

Excellent work, and a part of a period of Jan Garbarek, that I think he was looking to see what could be done with jazz that was not so invisible as most jazz playing is, and so tightly based on notes and chords by most players. Hearing this, the first thought of mine ... was .. this is not "jazz" ... and I suppose that this is ambient, with a jazz like bend ... but that might be hard ... since you can close your eyes and this has a movie somewhere.

NOTE: Parts of this album was used in the film "JOURNEY OF HOPE" in 1990 a Swiss/Turkey film, about the plight of many refugees trying to get out of Turkey. The music in the film has Arild Anderson (not sure which album yet), Jan Garbarek and Terje Rypdal (from EOS) ... and it presents Xavier Koller's film with astounding images with various parts of the music, making it look like the music is about the hope that these folks have for a new life. It won an OSCAR for Best Foreign Film the following year.

Moshkiae Jan Garbarek Places 1978

I'm not sure that I would call these 4 pieces in this album ... something called jazz. I kinda think that this is more "mood music" than it is something that could be called "jazz", although it is easy to think that it is so, simply because of Jan Garbarek. And, this is a rather difficult album to review, in that we just about have to "see" what the ideas/thoughts might be coming from the music, and in this sense, "jazz" makes sense, since it is not always anything other than just folks meandering together sometimes together, and sometimes apart.

But, in this case here, the difficulty is trying to match the titles to the actual music, and then see if they come together in your imagination ... kinda ... for me! But the listening is neat, quiet and nice all around ... and you never feel like a lot of jazz, where ... more of this or that is not really necessary, but it is added all the same, with another instrument or even the same player adding a different touch.

"Going Places" is the one that you wonder the most, specially as it has a repeating theme, and you wonder what is that happens (visually) in between the themes ... and it is a cool exercise of your mental abilities, though you and I have to remember that jazz is not as strong proving a "movie moment" as classical or rock music can be ... but sometimes it works, specially when it is to demonstrate a mind broken in parts or at least making an effort to come together, but still very apart.

With an organ sound all the way through the album, it almost feels like the rest of any instrumentation is just an addon, but it does not deter from the moods. And more often than not is actually makes tings interesting, although, for example, the ending of "Going Places" is probably the only part that you end up saying ... now that is jazz! But you know what? Compared to the rest of the stuff, it's almost like it doesn't fit ... but you accept it as a part of the music as it returns to the soft and meandering style of this album.

"Passing" has a bit of a somber tone, and feels like a dirge at the start ... and the tough part is when it ends suddenly ... and I think it is meant to be intentional ... as an image of death, if you will ... gone! And here, the solo guitar is absolutely a treat and neat, and the better part is that Jan Garbarek allows him to do his thing and not join in as a lot of jazz folks do ... and when it does it feels fine, except you don't want the guitar to stop, but it does. From that point on the themes repeat and the piece continues, until the saxophone leads them to another area. And it is very tasty and pretty, with the somber organ in the background and never coming to the front to let you know ... this is an organ, probably one of the nicest things in this album altogether, which helps define a lot of moods.

A very nice album, and compared to a lot of Jan's earlier work, it is a lot less "jazz" than it is ... simply ... great and enjoyable music, though I suppose that some folks in the audience are going to fall asleep on it ... gosh, we still have the kid stuff and feel in us! And we allow the music to take us away with it!

Very nice album ... not exactly a "jazz" standard, but a wonderful experiment of some of the things that jazz folks can do that help take jazz a bit further than just the cacophony of instruments all screaming for attention. There is no such detail here at all, and it makes this album special!

FunkFreak75 Wow! Combining high-powered, psychedelic rock and R & B like I've never heard it, Omar Rodriquez-Lopez--of THE MARS VOLTA fame--has created a monster of an album. Almost completely instrumental and, except for the guitar work and modern recording techniques, very reminiscent of lots of music and artists from the jazz fusion and electronic prog experimentalists fromt he 1970s.

1. "Melting Chariots" (3:51) starts off like something from a P-Funk album or TALKING HEADS' Remain in Light. The unusual staccato guitar solo is a quite inconsistent with the rest of the song's feel and sound. (8.75/10)

2. "Knee Deep in the Loving Hush of Heresy" (6:02) begins with ORNETTE COLEMAN-like free-for-all cacophony. The just as suddenly the music settles into a groove--an almost tongue-in-cheek 'sexy space' walk. The song flows intermmittently in and out of the opening cacophony, as well as into some stark bluesy sections. This sounds a lot like some of TODD RUNDGREN's wild sound/listener experiments from the 70s. The 'sexy space walk' jam is the overall dominant thread that keeps the song moving forward but there are many 'pauses' and 'interludes' into guitar and synthesizer 'tangents.' The song ends with a minute of straightforward heavy metal rock n roll. Interesting sonic and technical experimentation. (8.75/10)

3. "Jacob Van Lennepkade II" (18:25) is a wonderful multi-track (midi?) jam set over a very engaging, danceable groove laid down by the rhythm section. The occasional 'chorus' section is lead by saxophone melody--all the while the rhythm section keeps on groovin' away on the same pace, same riffs, same chords. The first five minutes are dominated by guitar(s) solo; second five by keyboard(s), third five by saxophone; and the final by guitars again. Awesome performances throughout. Great jam. (38/40)

4. "Fuerza de Liberacion" (5:33) begins with some odd synthesizer and vocal percussion 'noises.' At the one minute mark most of this fades away to be replaced by a kind of steady 'Carribbean' beat over which a heavily muted/treated male voice talks for over two minutes. Giving way to a multi-track guitar solo, beneath which the drummer--and then the keyboardist and saxophone player--has some real fun. The song's basic bass and keyboard structure remains steady and constant throughout. (8.875/10)

5. "Sparked From the Insult List" (6:08) is pure Latin groove rock--SANTANA at his jammin' best. Again, multi-track guitar (by which I mean that one guitar is being played but that it's sound is being channelled through two or more effects boxes and then into multiple recording tracks, giving it the feel that multiple instruments are being played). The presence of Rhodes-like keyboard and flute give this a very 1970s feel. Awesome feel and sound--one I can never get enough of. (10/10)

6. "Baby Fat" (2:47) has a very jazzy, KING CRIMSON feel to it--even down to the discordant free jam the song devolves into. (8.75/10)

7. "The Apocalypse Inside of An Orange" (11:14) is a true adventure in Psychedelic/Space Rock--even down to the "Indian" feel of the 'sitar' and bass sounds--a musical expression of pre-Big Bang (or post-apocalyptic) cosmic soup. It's actually quite entertaining and even engaging. (Again I am reminded of some of TODD RUNDGREN's work from the 70s--this time almost exactly like the middle 30 minutes of his 36 minute epic, "Treatise on Cosmic Fire"on Initiation). I quite like it! (18.5/20)

8. "Coma Pony" (6:36) is another throwback song, starting with a very cool, laid back jazz fusion (almost trip hoppy) groove set down by bass, drums, and very 60s/70s keyboard sound and style--over which the guitar again does his multi-track jamming. The ERIC GALE- like jazz guitar, BOB JAMES-like keyboard playing, TOM SCOTT/GROVER WASHINGTON- like sax play, and catchy melodies make this a very enjoyable and comfortable song--like a stroll through memory lane. (10/10)

Truly an exceptional album of adventurous music. Close to being a masterpiece; definitely 4.5 stars.

FunkFreak75 Klaus Doldinger's first release using the "Passport" moniker. Unfortunately, he would have to come up with a whole new lineup of musicians in order to produce his next album.

1. "Uranus" (6:35) with the use of weird synthesizer sounds and multiple "chorus" saxophones in the lead, this one sounds futuristic--like something that would influence the next/new generation of German prog rockers (ELOY and ANYONE'S DAUGHTER are what immediately come to mind). Though I like the flutes as a complement to the rest of the sounds in the second motif, it's Udo Lindenberg's drumming that really holds my attention the most--that and the intriguing sound choices coming from Jimmy Jackson and Klaus Doldinger's keyboards. (8.75/10)

2. "Shirokko" (5:44) opening with Klaus's solo saxophone being fed through some delay, echo, and panning effects for a 55-second intro before the drummer and bass player breaks into a groovy 1960s jazzed (or funked)-up surfer music motif. Clavinet-like keyboard provides the R&B guitar-like rhythm play while multiple saxophones provide horn-section-like background fill. Some of Klaus and Olaf Kübler's saxes solo over the top as well as Jimmy Jackson's organ in the third and fourth. Excellent! The really superstar (besides Udo's smooth/relaxed drumming) is Lothar Meid's chill bass play. A top three song for me--probably my favorite. (9.125/10)

3. "Hexensabbat" (4:27) using the heavy organ and "clavinet" sound from The Court of the Crimson King and driving Hammond and saxophone makes this song a very welcome proggy-side of the "new" jazz-rock fusion medium. Klaus's saxophone play leans far more to the sounds we've been hearing for a few months from Britain's VAN DER GRAAF GENERATOR. Another top three song. (9/10)

4. "Nostalgia" (5:13) taking his cues from the great WAYNE SHORTER, Klaus has got to be one of the other first/early users of sound engineering effects on his saxophones. Nice, evenly-paced low key song.(8.75/10)

5. "Lemuria's dance" (4:37) and Klaus's pioneering way of using multiple saxophones to create his DON ELLIS-like wall of strings- and/or horn section-like back texture has also got to be pretty innovative (as well as perhaps nodding back to his big band days). Drummer Udo Lindenberg again impresses: big time! (8.875/10)

6. "Continuation" (9:53) a song that starts out with a spacey bucolic motif that develops very slowly and deliberately within its atmospheric spaciousness before the band winds up in the second half ramping things up to another VAN DER GRAAF GENERATOR level of power: even going so far as to use similar sound palette and odd chord progressions. (17.5/20)

7. "Madhouse jam" (5:47) early MIROSLAV VITOUS/HERBIE HANCOCK/LARRY CORYELL-like funk using a rather simple bass and chord progression to define the rhythm track while adding some rock-like instruments like rhythm guitar and breathy flute; the whole foundation is just too blues-rock simplistic. Even WAR or BRIAN AUGER are more sophisticated and multi-directional than this. (8.5/10)

Total Time: 42:16

B/four stars; an excellent representative of the directions of possibilities in early Jazz-Rock Fusion.

FunkFreak75 Klaus Doldinger's second album using the "Passport" moniker, for which he had to get an entirely fresh set of musicians to try to support his vision, his compositions, including two Americans, keyboard artist John Mealing and drummer Bryan Spring. This marks the beginning of bassist Wolfgang Schmid (later known as Wolfgang Schmid- Grandy)'s six-year, six album commitment to Klaus. 1. "Mandragora" (3:46) very modern synth, clavinet, and electric bass noises open this one before drummer Bryan Spring and bassist Wolfgang Schmid align in an awesome cruisin' groove with clavinet right there with them. Though Klaus' multiple saxes present the main melody, it's his funky synthesizer that takes the first solo. In the third minute it's time for solo tenor sax. The melodies are okay, but it's the rhythm track that is so winning! (9.3333/10)

2. "Nexus" (5:23) here the rhythm section have some fun playing around with a wild game of tag before settling into a surprising R&B groove for Klaus to solo over while John Mealing plays around with his electric piano somewhere in the middle. Bassist Wolfgang Schmid and drummer Bryan Spring are playing like Titans (or monsters), as if they're in The Flintstones primal drum band--a theme that becomes even more pronounced in and throughout the fourth and fifth minutes. Not even Klaus' emotional soprano sax can take my attention away from this primal groove--not until the final 15 seconds when the band wind it down does the hypnotic effect fade. Nice! (9/10)

3. "Fairy tale" (7:32) gently echoing soprano sax notes float off into the mountain foothills while the gentle breeze tinkles the wind chimes and cymbals. Electric piano and bass notes join in slowly, transforming the porch-view into a trek into the foothills. Beautiful melodies issued by Klaus are apparently borrowed from a famous German folk song (which is even credited in the album's liner notes). Pleasant Herbie Hancock-like pastoral electric piano play during John Mealing's solo in the fifth minute. How can people discount this artist's abilities?! There is so much feeling and nuance in his play (not all flash and flare). Klaus returns with his soprano sax in the sixth minute as the rhythm section tightens up a bit--but not too much: just raising the tension levels a notch or two--but then Klaus' hypnotic echoed- melodies convince everyone to back down again to the gentle support roles they initially exhibited. Nice song! (13.75/15)

4. "Get yourself a second passport" (4:03) another funky clavinet-led R&B opening and acceleration is enhanced noticeably by the wah-wah and volume pedal modified rhythm guitar. (Wolfgang?!?!) Nice rhythm play beneath Klaus' soprano sax and "flute" synth solos. Wolfgang is really on fire in the "Can't Get Next to You" third and fourth minutes. Klaus switches to multiple instruments on multiple tracks to issue the main melody. Pretty cool! (8.875/10)

5. "Registration O" (9:24) Opening like a kind of campy burlesque song, the bass and low-end heavy drums are reinforced by a low-end organ bass as Klaus blasts away rather wildly on his tenor sax. I find it interesting how Klaus has mixed the organ's bass pedal line as the most forward, highest volume track in the song. Synth "saw" solo in the fourth minute is followed by a searing organ solo. But the biggest surprise (and highlight) to this heavy, MAGMA-esque tune is bassist Wolfgang Schmid's very good wah-ed electric guitar solo in the fifth and sixth minutes--it's even rousing enough to rile Bryan Spring into some risky drumming. But, with the advent of the seventh minute, everybody congeals again to a uniform goal, allowing the main bass melody to carry everybody to the eighth minute where they devolve the song in order to break into a new up-tempo motif with a cruisin' groove similar to that of the album's opening song. This then plays out in a jam as John and Klaus express their unbound feelings through organ, electric piano, and sax. Weird but powerful and definitely memorable. (17.5/20)

6. "Horizon beyond" (6:46) a fairly straightforward composition that is made so dynamic and entertaining by Wolfgang and Bryan. Plus, the sax play on this one (soprano) is one of the better/more accessible ones (for me). Even John's Hammond organ solo in the fifth and sixth minutes is great (though, admittedly, made better by Bryan Spring's drumming and Wolfgang Schmid's matching bass play). Nice melodies coming from both Klaus and Wolfgang. (14/15)

7. "The cat from Katmandu" (4:38) opens with a bass-and-drums straightaway: and then the multi-track conglomeration of several of Klaus' saxes presenting the melody (which is also quite catchy). And the throbbing organ chords in the background add a ton to the groove--a groove that becomes rather trance-inducing to we on the dance floor! This is also a sound that previews the sound that American saxophonist David Sanborn becomes so well known for. (9.75/10)

Total Time: 41:32

Due to superior production attention and techniques, even in 1972 Passport was exhibiting sound far in advance of that of most record companies in the USA; the production value here sounds like something from 1975 or 1976! (I urge you to compare this album to other 1972 releases in the jazz, rock and prog world: you will be very hard-pressed to find anything to measure up to this one.) The band have Dieter Dierks and Jörge Scheuermann at Dieter's state-of- the art home-based recording studio in Stommeln as well as bandleader (and producer) Klaus Doldinger's almost anal- retentive attention to detail to thank for this. The music, however, is often built around either 1) rather simple ideas and structures or 2) Klaus' fiery saxophone solos. Though there is no denying that Klaus is a very skilled saxophone player, his sound and style does absolutely nothing to help win me over into the crowd of saxophone fans. I'll even go further in saying that it is most often the work of his band mates that engages me despite my aversion to saxophone leads. While many reviewers find it difficult to find skill or accomplishment in the instrumental performances on this album, I find myself so impressed that I wonder if I'm listening to the same album these other reviewers are listening to. Drummer Bryan Spring and certainly bass player Wolfgang Schmid are very dynamic, engaging, even exciting to listen to, while keyboardist John Mealing is definitely no slouch. What are these other reviewers hearing/seeing that I'm missing? The sound recording is so clear and pristine that each musicians' contributions are fully on display; there can be no questioning their skill and talent--and with the knowledge of Klaus Doldinger's rather exacting expectations and standards, I find it hard to find fault in these performances: they're most likely doing exactly what Klaus has asked of them--and I hear a ton of creative inputs coming from each and every musician through each and every song!

A-/five stars; a minor masterpiece of rockin' and funky Jazz-Rock Fusion that feels two to three years ahead of the curve on the historical J-R Fuse trajectory. The sound production alone is well-worth any prog-lover's attention and appreciation: You gotta hear it to believe it!