Herbie Hancock - Headhunters

classic.

Nucleus - Elastic Rock

Nucleus's first, another excellent offering.

"When Carr brought together keyboardist/oboist Karl Jenkins, saxophonist/flautist Brian Smith, guitarist Chris Spedding, bassist Jeff Clyne and drummer John Marshall, established musicians all, to record Nucleus' first record, Elastic Rock , one doubts that he could have envisioned the impact the album would have, not only on the British scene, but on the international stage as well. A few short months after recording their first record they won the top award at the Montreux Jazz Festival and found themselves playing at the Village Gate in New York, to an audience who was wondering exactly what it was they were hearing. And if it weren't for a manager's greediness, Elastic Rock would have seen Stateside release, and the broader history of fusion might have been coloured a different way. But sadly that didn't happen and Nucleus, after an initial flurry of activity on the North American scene, ultimately returned to England where they maintained a successful career there and on the European continent, for the next ten years or so.

From the opening burst of Jenkins' "1916," with its anthemic horn-line supported by Marshall's flurry of activity, it is clear that something new is happening. The album as a whole, while incorporating certain elements of rock rhythms, is a more relaxed affair than what was to come later. If a comparison must be made, then Miles' In a Silent Way is a precedent, although Carr claims not to have heard it at the time of recording, which just continues to reinforce the reality that advances in music come from many sources and usually at the same time. Like In a Silent Way , Carr chose to build side-long continuous suites of music, although there is less reliance on hypnotic groove and more on composed melodies, mostly from the pen of Jenkins, who would write the majority of Nucleus' first two records. And while there are some similarities between the trancelike groove of "Torrid Zone" and "Shhh/Peaceful," there are differences as well. While "Shhh/Peaceful" would rest on a certain ambience for nearly an entire side, "Torrid Zone" would lead into "Stonescape," a more conventional ballad, albeit played with a certain elasticity in time by Marshall. Segueing into "Earth Mother," Jenkins delivers an oboe solo over a group improvisation that, as rocky as it gets, is still relatively subdued compared with their next album, We'll Talk About It Later , which was recorded eight months later in September '70." - John Kelman

Git

Nucleus - Belladonna

For Sean-E Dawg. Nucleus was a cornerstone of British Jazz Rock, who are largely unsung nowadays, but in the early 70's they released a slew of beautiful, atmospheric Fusion, in the best tradition of Miles' "In A Silent Way" and Bitches Brew", and also Weather Report's first two albums, masterpieces of the genre. The group was led by Trumpet player and Miles biographer Ian Carr, and an impressive number of Brit Jazz luminaries played in it, including some that went to play in Soft Machine's later incarnations. Their post 70's work is forgettable, but at the peak of their powers this group was bringing the hot shit. In this one Allan Holdsworth plays guitar, never on wank mode, providing texture, colour, direction and fury when necessary, but never forgetting this is a groupmind thang.

Personnel:

Bass [Guitar] - Roy Babbington
Drums - Clive Thacker
Engineer - Roger Wake
Guitar - Allan Holdsworth
Percussion - Trevor Tomkins
Piano [Electric] - Dave MacRae, Gordon Beck
Saxophone [Tenor, Soprano], Flute [Alto, Bamboo] - Brian Smith
Trumpet, Flugelhorn - Ian Carr

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Tony Williams' Lifetime - Lifetime: A Collection

Raul asked for some Holdsworth features, and we start with this comp. Be warned: this is far from the Lifetime's best work (which will be uploaded later on) but still better than 90% of the tepid fuzak that was being released at the time, including Pastorius-era Weather Report (sorry Jaco nuthuggers). So here it is.

"This collection, a combination of the two releases Believe It and Million Dollar Legs, features what was known as The "New" Tony Williams Lifetime. Long gone were the original members of the trailblazing group: John McLaughlin, Larry Young, and eventually Jack Bruce. But it was six years later, and Tony was still pushing the concept. Many of his fusion contemporaries were already finding the commercial success that Williams was still searching for. For the most part, Tony was trying too hard to please, and it showed. The two "New" Lifetime records were uneven at best. Parts of Million Dollar Legs are simply unlistenable. But Williams's immense talent and the contributions of the young and exciting guitarist Allan Holdsworth provided a few outstanding performances, among them "Red Alert." Composed by bassist Newton, "Red Alert" is anxious and compelling. In unison, Newton and Holdsworth open with urgent low-register lines. The players step into a higher register and then back again. Williams's insistent pounding is like a rapid heartbeat. Pasqua's electric piano serves as a bit of a salve, as he is not asked to be as demonstrative as his band mates. Meanwhile, Holdsworth lets loose with synthesizer runs. Of course, he was not playing synthesizer! Holdsworth was still in the early stages of his illustrious career, but you could hear in his solos that he was going to be different. "Red Alert" is both a demanding tune for the player and a warning to the listener. Be prepared to be knocked over." - Walter Kolosky

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Allan Holdsworth @ Inter Metro 2/19/2009

First of all I want to invite my fellow chasm filler. bloggers to post any material featuring this artist. Ozstriker I'm talking to you!

Allan Holdworth will be giving a class next Wednesday February 18th at 2:30 pm and will be playing live at the Inter Metro's theatre Thursday February 19th at 8:00pm.

"Allan Holdsworth (born August 6, 1946) is a British guitarist and composer. He has played many different styles of music over a period of four decades, but is now best known for his work within the jazz fusion genre.
Holdsworth's first recording was with the band Igginbottom on their lone release, Igginbottom's Wrench, in 1969 (which was later reissued under the group name of "Allan Holdsworth & Friends"). In the early 1970s, he joined Tempest, upon which the albums Tempest (1973) and Living in Fear (1974) were released during his brief time spent with the band.
Following this, Holdsworth worked with various popular jazz fusion groups and artists, including Gong, Soft Machine, The New Tony Williams Lifetime, Jean-Luc Ponty and, later in the decade, the progressive rock band UK."

Wayne Shorter - Moto Grosso Feio

Where Wayne goes bonkers, put Chick Corea in charge of marimba and percussion, Ron Carter on Cello, Dave Holland on guitar along with John McLaughlin, rounds out the ensemble with an unknown drummer (and Miroslav Vitous?) and sets off to the heart of the sun on full-on zonked kosmigroov fashion. A neglected gem on Wayne's discography. "Iska" coming soon.

Montezuma

Electric Masada at John Zorn's 50th Birthday Celebration

For whatever reason, what Miles Davis accomplished with Bitches Brew - arguably the album that put fusion on the map - has never been matched and has rarely been emulated. Fusion and various forms of jazz-rock abound thanks to Miles and other pioneering artists, but the sounds and textures of Bitches Brew remain nearly unique - fusion artists took different directions and, for whatever reason, ended up sounding more directly derived from groups like Mahavishnu Orchestra than the free-form, spacious Bitches Brew-era Miles.

John Zorn's Electric Masada, here recorded at a gig in New York, is one of the few fusion groups that actually sounds a lot like Miles circa Bitches Brew. The group takes seven Masada compositions and turns them into raging, energetic beasts. "Idalah-abal", from Alef, here becomes a ferocious number with Marc Ribot's guitar jamming on an anchoring riff while Zorn flails away at his saxophone. "Hadasha" is the most Bitches Brew-like number, what with Ribot's wah-wah guitar, Zorn's more controlled blowing, and an open, spacious texture. The performances are inspired and inspiring; fitting for the occasion, part of Zorn's massive 50th birthday bash in New York.

Throughout it all, the percussion holds the group together and provides a consistently interesting and controlled backdrop to the sometimes chaotic improvisation (particularly by Zorn and electronics whiz Ikue Mori). With two drummers and a percussionist, the rhythms here are fascinating yet always groovy; for instance lending the last track, "Kisofim", a Latin shuffle kind of feel. With such a reliably interesting rhythm section, Zorn and his cohorts are free to jam into outer space. And jam they do.

If you enjoy fusion a la Bitches Brew - wide-open improvs anchored by a great groove and the occasionally rocking riff (and spiced up, once in a while, by an intensity that compares best to Naked City) - Electric Masada is one of the best things that's come along in the past decade. No exaggeration.

-Brandon Wu

The Lineup: John Zorn, Marc Ribot, Cyro Baptista, Ikue Mori, Joey Baron, Kenny Wollesen, Jamie Saft, Trevor Dunn. Not too shabby. Amazing shit.

Mazel Tov

Frank Zappa - Roxy and Elsewhere (1974)

So I have this memory of being wasted out of my mind on magic shrooms and listening to this album with my buddies Javi and Marisa wondering whether or not I had BBQ sauce inside my sneakers. That was my introduction to the wonderful musical world of Zappa and I may never forget it. Frank Zappa needs no introduction and this album (among many others) is a testament as to why. Released in 1974, this live album features Frank Zappa & the Mothers in one of their most acclaimed incarnations performing tracks which remained unreleased on any other Zappa album. Features highly complex instrumental sections with challenging synchronization among the musicians and their respective instruments. These guys speak in another language. You'll wonder how the fuck they managed to pull off these dazzling arrangements. A great Zappa experience nobody should miss out on.

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