The 2000s: Favorite Jazz-Fusion Releases

There aren't a lot, but here are my favorite Jazz-Rock-Fusion releases from the 2000s:

1. HIROMI’S SONICBLOOM (HIROMI UEHARA) Time Control (2007)

Easily the most exciting, consistently high-level, creative jazz fusion album I've encountered in the 21st Century. Yes, there are a lot of sounds, riffs, passages familiar from my long love for and association with the music of CHICK COREA, but there also tons of fresh, mouth-jarring ideas expressed here--by all four of these incredible musicians. Guitarist David "Fuze" Fiuczynski is truly masterful and chamelonic in his playing--a brilliant foil to Hiromi's stellar, melodic, and often heartbreakingly beautiful keyboard playing. And the bass playing and drumming are often attention-getters, as well. I rate fully seven of this album's nine songs as absolute gems--masterpieces of highly engaging jazz fusion. An album that has never strayed far from my disc player (especially in the car) since I got it a few months ago. So glad "classic" jazz fusion is still being explored and adored somewhere!

*****Five star songs:  1. "Time Difference" (6:19) (10/10); 3. "Time Travel" (8:37) (9/10); 4. "Deep Into the Night" (9:02) (10/10); 6. "Time and Space" (7:56) (15/15); 7. "Time Control, or Controlled by Time" (8:29) (Sample is from a promotional excerpt) (10/10); 8. "Time Flies" (8:01) (9/10), and; 10. "Note from the Past" (12:09) (Sample is from a live performance, [16:13].) (10/10).

****Four star songs:  2. "Time Out" (6:39) (8/10); 5. "Real Clock vs. Body Clock = Jet Lag" (5:53) (7/10).

9. "Time's Up" (0:46), an interrupted brief take of "Note from the Past," which is not on the American version of Time Control, is the American CD's final song. On the Japanese version, the incredibly powerful "Note from the Past" is the finale. 

92.22 on the Fish scales = A-/five stars, rare:  an absolute modern masterpiece of Jazz Fusion and a minor masterpiece of progressive rock music in general.

2. KBB Lost and Found (2000)

Amazing violin and keyboard led instrumental Prog Fusion from Japan that harkens back to the debut album of the 1978 supergroup UK as well as to late 1980s JEAN-LUC PONTY. Bass player, "Dani," drummer Shirou Sugano, keyboard player Toshimitsu Takahashi, and violinist/composer, Akihisa Tsuboy are all incredibly gifted musicians, but what's more, they each have an extraordinary gift for melody and rhythm. Also, a special shout out has to go to bass player, "Dani"--who is also the album's engineer--for his great recording/engineering job.

The album begins with the hard-driving, bass-grooving 1. "Hatenaki Shoudou" (6:24) (9/10)

2. "Catastrophe" (9:31) is an amazing offering of frenzied, multiple layered electric fusion (another mostly hard-driver) in which the band's cohesive play and interplay are put on full display. Parts jaw-dropping, parts are goose-bumpy gorgeous. Incredible song. (20/20)

3. "Antartica" (13:28) has a much more neoclassical, symphonic soundtrack feel to it. At times this sounds like something from traditional Scottish folk melodies, at times like a military march, at others concerto-like, and even some brooding KITARO-like folk. This is a complex and maturely constructed piece that only impresses. It's only shortcoming is in the flow and that it doesn't have quite the melodic draw of the previous two songs. (27/30)

4. "The Desert of Desires" (7:38) opens like a ELP or ASIA tune before establishing an organ based, Bruford-drummed bass display. Soloing electric guitar enters at the one minute mark. Very accomplished 80s EDDIE VAN HALEN-like playing. At 2:17 everything drops away to allow an electric piano to establish a slower tempo in order to display a more emotional, bluesy guitar solo style. Reminds me of WHITESNAKE. The chord and melody work of the last two minutes is the best part. Nice work. Nice piece. I don't connect with the emotion of this electric guitar playing or heavy rock style as much as the fusion violin work of the first two. (12/15)

5. "Another Episode" (8:28) again opens like a familiar VAN HALEN song before displaying its violin-centricity. Some absolutely stunning melodies are quickly established and heart-wrenchingly performed. Even the piano and bass are integral parts of the emotional mix of this song. I like the presence of some more Japanese feeling melodies in this song. Very much like the incredible soundtracks put together for Studio Ghibli Hayao Miyazaki films by composer Joe Hisaishi. Awesome synthesizer solo in the sixth minute! The ensuing "farfisa" organ doesn't fit quite as well but its presence is only brief. The next percussive synth chord section is also a bit out-of-date but it evolves into a piano-based return to the opening melodies (though on electric guitar and synthesizer instead of violin). Still a pretty awesome song! (18/20)

6. "Ness No Kioku" (9:41) opens with a low and then high toned SHANKAR-like solo violin. The melodic style here is also much more akin to Middle Eastern or Indian traditions. Truly awesome musicianship in the rhythmic support of the bass and drums. Probably the best and most exciting song on the album, start to finish. (20/20)

7. "Divine Design" (9:26) opens with perhaps the most engaging three sections of the album. Very JEAN-LUC PONTY and DANIEL KOBIALKA-like. A simpler song construction establishes itself for the first four minutes--though there are at least five shifts in that time. The sixth shift at the 4:45 mark goes straight for the J-L PONTY jugular--much in the same way Jean-Luc did in his faster-placed songs and soli from 1975-84. And great, very tight band support throughout the song, into and with every style and tempo shift. Guitar appearance leads into a return to some of the song's opening themes--layered one over the top of another! Cool song! Prog perfection! (19/20)

So professionally done, such high level of musicianship and composition. With the amazing start with the first two songs and the equally amazing final two songs, this one is very close to a masterpiece.

92.59 on the Fish scales = five stars, for sure a masterpiece of progressive rock music.

3. USVA Uoma (2006)

Over 71 minutes of wonderful folk-tinged instrumental jazz fusion from this seven-member jam band (and a whole mess of guests) from Finland. Throughout the album I enjoy the electric instruments like the bass and the drum kit drumming, but it is the traditional folk and classical instrumentation that really love:  harp, violin and strings, xylophone, marimba and other hand percussions, flutes, and other woodwinds (sax, bassoon, clarinet). I also seem to enjoy the slower parts best--even though the album never gets going at break-neck speeds, they just have a brilliant way of magnifying the weave of melodies during the slower sections. 

Album highlights include:  the album's gorgeously scored opening suite, "Kuoriutuminen," Parts 1, 2 & 3 (10/10) the wonderfully Japanese-flavored 8-10. "Vesikko" suite (23:02) (10/10); 7. "Arabian Ran-ta" (10:00) with its wonderful shift at the 3:50 mark (9/10); the stepped down beauty of "Chinese Daydream, Part 1" (3:12) and then the shift into a higher gear for the brass-dominated "Part 2" (5:43) (8/10); the brassy, American jazz rock sounding, 4. "Different Realities" (11:14) (8/10), and; the pretty, if simple, harp-based, 11. "Lullaby" (4:22) (8/10).

There's a lot of music here, but it is all quite enjoyable and some of it compositionally masterful.

90.0 on the Fishscales = A-/five stars; a minor masterpiece of folk-based jazz fusion.

4. FARMERS MARKET Surfin' USSR (2008)

Besides having the best song titles, hands down, of any album EVER, their is some absolutely stunning music here. Fast "punk jazz" with an undeniable Slavic flavor, the music here reminds me of Markus Pajakkala's 2017 Brutopianisti album, only far more engaging. The music obviously, and intentionally, imitates (or parodies) known styles and motifs from Western music--with none more than the Dick Dale-led California surfer music scene of the 1950s and 60s--but also spy music styles and themes used in James Bond and other spy films of the 1960s and 1970s. All the layers here seem infected by the rapid-fire staccato and tremolo-crazy styles pioneered by Dale's style, though Eastern European and Middle Eastern (even Romani and klezmer) sounds , scales, and charts are also all-pervasive. Definitely a jazz combo as instruments like accordion, horns, banjo, and all kinds of percussives and traditional folk instruments are central and layered throughout every song, the music even spans the breadth of the 20th Century with nostalgia exhumed from the early jazz of the 1920s, the Big Band jazz eras, and the Django Reinhardt-type of Gypsy Jazz.

Line-up / Musicians:

- Stian Carstensen / accordion, guitars, banjo, tamura, bagpipes, flute, percussion, bass, vocals

- Finn Guttormsen / bass, percussion, vocals

- Filip Simeonov / clarinet, trumpet

- Jarle Vespestad / drums, percussion

- Nils Olav Johansen / guitars, vocals, synthesizer

- Sidsel Walstad / harp

- Trifon Trifonov / saxophone

- Jai Shankar / tabla

- Ola Kvernberg / violin

- Arve Henriksen / vocals

- Julie Peneva / vocals

- Nadia Vladimirova / vocals

- Sonia Iokova / vocals

1. Surfin' USSR (4:49) 

2. Surfin' USSR Part 2 (2:46) 

3. Lodtschitze Mini Maritza (Ferry Cross the Mersey) (5:07) 

4. Anyone Who Remembers Vladiwoodstock Wasn't There (4:34) 

5. Dissident Harmony Sisters' Camel Call (1:37)

6. To Hell and Baku (3:57)

7. Tractor Tracks Across the Tundra (1:15) 

8. From Prussia with Love (4:08)

9. Red Square Dance (7:47)

10. The Dismantling of the Soviet Onion Made Us Cry... (3:21) 

11. Kalashnikov Wedding (2:50)

12. Steroid Train Trip (2:21)

13. Meanwhile Back at the Agricultural Workers Collective (4:58) 

14. Ladyboy's Night at the Cultural Relativism Saloon (Fremling) (2:05) 

15. One Day, Son, All I Own Will Still Belong to the State (6:09)

16. Yagoda (2:35)

Total Time: 60:20

If you like your music lively, fast, technically wizard, jazzy, predominantly acoustic, upbeat (generally), cerebral, and to give you a smile on your face, then this masterful album would definitely be worth your checking out. It may not be the type of music you want to listen to every day, but for that change of pace, ear- and eye-opening listening experience, you needn't go any further than this album.

A/five stars; a masterpiece of a very specific sound and style that definitely belongs in the Folk-Jazz-Rock Fusion category. Incredible artistry and cohesion from the collective.

P.S. Just get your jollies from reading those titles! Genius! 

5. CABEZAS DE CERA Cabezas de Cera (2000)

Great music--truly of a progressive nature--from a Mexican trio-sometimes-duo that include, on this, their debut album, an amazing percussionist (Francicso Sotelo on electronic drum set & tuned and untuned percussion), a Chapman Stick player (Mauricio Sotelo playing "grand stick, electric & acoustic guitars, electric bass"), and an extraordinary master of wind instruments--some of which are local/indigenous (Ramses Luna on "varied flutes, saxophone & clarinet"). A fresh sound that is very exciting to listen to; the Sotelo brothers really have something new and special. Videos of their live performances are really fun to watch.

1. "Ventiuno" (5:40) "Ein und zwanzig!" (8.5/10)

2. "Gocxilla" (5:30) using a LOT of effects to produce monster/animal noises, this is VERY King Crimsonian. (8.5/10)

3. "Encantador De Serpientes" (5:47) kind of like Brazilian jazz. Excellent! Amazing interplay between the three guys. Amazing song! (10/10)

4. "Un Pueblo Escondido" (5:47) this song just makes me happy--in a Caribbean-meets-Balinese-Gamelan way. (9.5/10)

5. "Caravana" (4:40) percussion and flutes open this one as ChapmanStick mostly performs the bass function. Switch to distorted gtr brass horns and drum kit for the second 90 seconds and then something different, more saw-like for the final third. Did Markus Pajakkala here this one before doing his Brutopianisti album? (8.75/10)

6. "Pretexto A Un Texto Fragmentado" (4:30) Art of Noise? Industrial King Crimson? Amazingly fresh and innovative! Love the narration over the music! (10/10)

7. "Gitana" (3:04) kind of Latin-Arabic acoustic jazz. Nice! (9/10)

8. "Frontera" (6:04) true ChapmanStick heaven! (8.75/10)

9. "Al Aire (6:05) nice Latin jazz with more Spanish narration over the top. Not as fresh or lively as "Pretexto", the narration is too much the center and focus of the song. (8/10)

Wow! What did I just listen to! It was unlike anything I've ever heard before! So fresh! So lively! So awesome! And talk about virtuosity! These three have it--on multiple instruments, each! 

90.0 on the Fishscales = A-/five stars; a minor masterpiece of progressive rock music coming from the world jazz fusion direction. Try it out! You won't be sad! 

6. PAT METHENY GROUP Speaking of Now (2002)

One of Pat & co.'s more pastoral jazz albums, this one does not take the listener into realms of avant or theoretical or chromatic or free jazz, nor does it take us back to bebop or Wes Montgomery, but it is more heavily reliant on acoustic instrumentation that most PMG albums. Even in the album's credits the acoustic instruments are given first citations for each of the individuals involved in the project. Still, you will hear Lyle's familiar/signature synths and Pat's familiar/signature "piccolo trumpet" electric guitar leads but all played over piano, acoustic guitar layers, the amazing Steve Rodby's double bass or cello along with newcomer Antonio Sanchez' drumming. (Shout out to the amazing Paul Wertico! You are the best!)

     Every song on the album is replete with multiple memorable melodies and gorgeous song structures, stunning solos from Lyle ("Proof"), Pat, all of the vocalists, and trumpeter Cuong Vu.

Great songs:  1. "As It Is" (7:48) which is probably my favorite song on the album (15/15); the more Wes Montgomery-styled, 2. "Proof" (10:09) (18/20); the far-away-romantic, next-the-fireside, 3. "Another Life" (7:08) with its odd almost Gregorian chant vocal interludes (13.5/15); the wonderfully bucolic, pastoral feeling 7. "A Place in the World" (9:52) a top three song for me (19/20); what sounds like a classic jazz standard--a piece of true ear candy--as if sung by Nat King Cole or Antônio Carlos Jobim but is sung by Cameroon's Richard Bona in a language I don't recognize (what should be French?) 8. "Afternoon" (4:45) (10/10), and; the album's closer, 9. "Wherever You Go" (8:03) a real gorgeous, melodic, low key tune in which all of the band members put on display their mastery of delicate jazz play. (14.5/15)

Very good songs:  4. "The Gathering Sky" (9:22) which sounds like a piece that Gene Kelley would have used as a film score to choreograph one of his unique dance numbers (16/20); 5. "You" (8:30) which is constructed much as the Brazilian pieces the band did in the 80s like Pedro Aznar's "Más allá (Beyond)" (16/20), and; the standard PMG Latin-tinged Wes Montgomery-sounding piece, 6. "On Her Way" (5:21) (8/10).

A solid, accessible release of jazz in the familiar vein of what Pat Metheny Group has been doing for over twenty-five years only oriented a bit more to the acoustic side of jazz instrumentation and the melodic side of jazz.

89.65 on the Fish scales = B+/4.5 stars; a minor masterpiece of jazz fusion applauded for the incomparable standards of technical and melodic virtuosity they uphold for their profession; a near-masterpiece to the world of progressive rock music.

7. JAGA JAZZIST A Livingroom Hush (2002)

Why didn't anyone ever tell me how good the older Jaga Jazzist albums were? When you read something like, "The BBC named it the best jazz album of 2002," you want to check it out.

Line-up / Musicians:

- Andreas Mjøs / vibraphone, drums, marimba, percussion, keyboards

- Even Ormestad / bass, keyboards

- Harald Frøland / guitar, Fx, synth

- Ivar Chr. Johansen / piano, Fender Rhodes, organ, Roland Jupiter synth

- Jørgen Munkeby / flute & alto flute, bass clarinet, tenor saxophone, keyboards

- Lars Horntveth / tenor & baritone saxophones, flute, bass clarinet, guitars, keyboards

- Lars Wabø / trombone

- Line Horntveth / tuba

- Martin Horntveth / drums, drum machines, percussion, keyboards

- Mathias Eick / trumpet, upright bass, keyboards

With:

- Jørgen Træen / keyboards, percussion, synth, electronics, production, mixing

- Frode Sævik / violin (4,9)

- Nils Olaf Solberg / viola (4,9)

1. "Animal Chin" (4:07) (8.75/10)

2. "Going Down" (5:20) My favorite song on the album. (10/10)

3. "Press Play" (1:16) (5/5)

4. "Airborne" (5:13) KOOP with orchestration. (8.75/10)

5. "Real Racecars Have Doors" (4:15) (8.5/10)

6. "Low Battery" (5:50) (8.5/10) 

7. "Midget" (2:32) (4.25/5)

8. "Made for Radio" (5:22) (8.5/10)

9. "Lithuania" (8:38) A top three song for me. (17.75/20)

10. "Cinematic" (6:22) totally experimental glitch editing á la Ryuichi Sakamoto, Carsten Nicolai, Christian Fennesz. Great if what you're wanting for your jazz takes place in the editing/production room and can't be replicated in a live setting (without computers). (8.25/10)

Total Time 48:55

Employing glitch technology is clever (it had to happen sometime, right?) but it's not, IMHO, the answer that jazz was needing.

88.25 on the Fishscales = B+/4.5 stars; a near-masterpiece of Jazz-Rock Fusion coming from the NuJazz sub-sub.

8. KVAZAR A Giant's Lullaby (2005)

Viking Prog? Nordic jazz? Scandinavian bassa nova?

Line-up / Musicians:
- Andrè Jensen / vocals, piano, Rhodes, Mellotron, synth, 6- & 12-string acoustic guitars, mandolin, sampler
- Jon-Erik Gretland / guitar
- Ronny Johansen / Mellotron, synth
- Christian Torp / bass
- Kim A. Lieberknecht / drums, e-drums, loops, programming
With:
- Trude Bergli / vocals (2)
- Tom Roger / flute (2,10)
- Odd Andre Holm / saxophone
- Alexander Knøsmoen / guitar (3,5)
- Endre Tønnesen / bass (3,5)

1. "Flight Of Shamash" (9:13) Viking Prog! Gregorian Chant-like vocals with atmospheric heavy prog. Astonishing and unexpected song. (18.5/20)

2. "Choir Of Life" (5:36) more traditional folk oriented instruments open before the rock/prog/jazz instruments join in with female vocalise. (9.25/10)

3. "untitled 1" (1:30) jazz-folk-prog interlude with Spanish-style acoustic guitar soloing over the top. (4.25/5)

4. "Dreams Of Butterflies" (8:30) female singing in English over jazz-rock-folk fusion. (18/20)

5. "untitled 2" (1:49) lounge jazz guitar with combo (4.25/5)

6. "Spirit Of Time" (8:42) space blues--not far from early Pink Floyd or Procul Harum or even Blind Faith. (17/20) 

7. "Desert Blues" (6:13) psych/space rock with female Arabian vocal turns jazz-psych with sax, electric guitar, synths and other looped samples forging a OZRIC TENTACLE/JAGA JAZZIST mixed soundscape. Very interesting! (17.75/10)

8. "Sometimes" (5:09) lounge jazz (bassa nova!) with female lead vocals, jazz electric guitar, and rompous full chorus. (8.75/10)

9. "A Giant's Lullaby" (9:42) an psych-jazz variation the classic "Summertime" that builds and morphs in several directions (sometimes all at once!)--holding fast to a jazzy foundation no matter what speed or instrumental palette used. Very interesting, imaginative, and well executed. (18/20) 

10. "Dark Horizons" (8:03) haunting melodic prog with a slight hint of jazz. Single lead male voice is interesting choice for the finale (especially given the way the album opened.) At 3:35 full chorus of voices, male and female, perform. Over the coourse of the second half of the song the band takes us through folk, bluesy psychedelia, Broadway, and--sometimes all at once! Fascinating! (13.5/15)

87.40 on the Fishscales = B/four stars; an excellent addition of unusual prog music fit for any prog lover's music collection. 

9. PAT METHENY The Way Up (2005)

I have been an avid PAT METHENY listener and fan since the 70s (his work with JONI MITCHELL and GARY BURTON), and have pretty much every album he has every done, call the 1986 concert I attended of his one of the top five concerts I've ever attended, and consider him one of a very few masters of the art of combining technical prowess with emotional and melodic expression. And, yes, this one is one of his best albums--and one of two that truly fits among the masterpieces in the "progressive rock" catalog (the other being 1992's Secret Story). For long-time listeners, however, this album contains many "old" themes, tricks, and twists--so does not remain quite so fresh and exciting over its entire 68 minutes. The opening "song"--entitled "The Way Up: Opening: does contain some "fresh" sounding slide guitar, beautiful acoustic guitar, and introduces the awesome syncopated guitar strum theme which makes the third song, "The Way Up: Part Two" one of the best prog songs I've ever heard. The Way Up: Part One," the album's longest "song," offers up many old sounds, themes, and melody lines mixed with just enough new sounds, twists, themes, and melody lines (Pat playing more than one guitar lead at a time--in effect, dueling with himself!) to make this music very fresh and exciting. Plus, I must admit that the often-frenetic trumpet playing solos off of/against Pat's guitars offers a fascinating counterpoint to Pat's typically powerful yet melodic lead solos. The slowed down part after the 6:30 mark is a bit unexpected and out of place. And the song's central section is really pretty straightforward jazz, WES MONTGOMERY style (with some good jazz trumpet playing). It's the final, sensitive 5:30 of the song that start to bring one back to the prog fold. But then, voilà, "Part Two" comes on and I can't help myself but I play it over and over, astounded and hooked by the EBERHARD WEBER Following Morning intro section (first 2:15) and the 3:30 to 12:05 section in which Pat's syncopated and time-bending staccato guitar pizzicato's (which are later taken over by keyboards and percussion) lay foundation for one of the greatest 'barely controlled chaos' jam sessions I've ever heard. First Lyle's gentle, sensitive, inimitable keyboard work, followed by Pat and trumpeter Chong Vu going shit crazy! Then we have the wonderful 'calm after the storm' section with its wonderful harmonica lead. (And still the staccato pizzicato guitar-and-keyboard theme plays in the background). Trumpets, harmonica, catchy rhythm work. What treasures are bassist Steve Rodby and drummer Antonio Sanchez (though I worship former Group drummer, Paul Wertico)!

"Part Three" returns to very familiar Pat Metheny Group territory--sounding very much like his 1980s productions--with its very strong Brazillian influence. Nothing really new here.

1. "The Way Up: Opening" (5:17) (8.5/10)

2. "The Way Up: Part One" (26:27) (8/10)

3. "The Way Up: Part Two" (20:29) (10/10)

4. "The Way Up: Part Three" (15:54) (8/10)

I'm very tempted to give this one five stars for the sake of "Part Two" which is, IMHO, one stellar achievement of musical expression. But I won't. (Though I may regret it later.) Still, if you've never heard the musical genius of Pat Metheny and company, start either here or with Secret Story. You won't be disappointed.

86.25 on the Fish scales = B/four stars; an excellent prog album by a man much more deserving of some love from this group of music lovers; one of the 21st Century's finest jazz rock contribution to progressive rock music.

10. SYRINX Qualia (2008)

Very nice instrumental jazz-rock fusion from France, replete with church organ, woodwinds and power chords. "Acheiropoiètes" (8:41) (9/10) and the epic "Liber nonacris" (19:39) (9/10) are both standouts for me.

Other Great Jazz-Rock Fusion-Related Releases:

BILL BRUFORD'S EARTHWORKS The Sound of Surprise (2001)

An album of music that doesn't really fit into the "progressive rock music" category by any way, shape, or means, drummer extraordinaire Bill Bruford continues to gather young jazz musicians willing to push the boundaries of modern improvisational JAZZ--and here he's recruited a true power trio to help him realize his jazz-rock vision. You go, Bill!

Line-up / Musicians:

- Bill Bruford / drums

- Steve Hamilton / piano

- Patrick Clahar / Tenor And Soprano saxophones

- Mark Hodgson / bass

1. "Revel Without A Pause" (7:33) pretty standard sax jazz. (13/15)

2. "Triplicity" (6:22) opening with one minute of wonderful solo Bill, the Latinized music that follows shifts into straight melodic jazz and back to Latin-rhythm base over an over, several times a minute, to great effect:  it's really cool and different! Definitely a rhythmist's song. And filled with great, lush melodies from all instrumentalists. Modern jazz at its most sublime! (10/10)

3. "The Shadow Of A Doubt" (6:07) awesome melody start that moves into a beautiful, emotional soprano sax led ballad format. Gorgeous. Definitely a saxophone player's song--and a masterpiece of such--but maestro Steve Hamilton's piano gets its time in the spotlight as well. Songs like this remind me of how wonderful jazz can be. (10/10)

4. "Teaching Vera To Dance" (8:14) this one opens with a long bass solo before exploding into an almost-funky little ditty. If there's a weakness in this song, it is, unbelievably, in the drums: they seem a bit off time and "tired." (Intentionally so?) Not as melodic or engaging as the previous songs, this is more like the cold modern jazz that I've become accustomed to since the 1980s--mechanical and lacking heart. (12.5/15)

5. "Half Life" (5:18) straight time from the drums and yet syncopation from the others! How unlike Bill! It does create a tension that builds interest and intrigue. Stylist switch to a swing at the 2-minute mark makes it even more interesting as piano and sax continue on as if nothing has changed. Nice LYLE MAYS-like piano solo in the fourth minute (which turns CHICK COREA-like towards the end) as Bill and bassist Mark Hodgson do interesting things beneath. Cool song! (9/10)

6. "Come To Dust" (9:56) meandering piano play at the beginning has a gorgeous JOE SAMPLE Carmel kind of feel to it. When the rest of the band joins in at the end of the second minute it keeps the pace at a very slow, introductory, and exploratory place. In the piano solo central to the song's middle I hear the heart-felt daydreaming of VINCE GUARALDI. Another exemplary jazz masterpiece. (19/20)

7. "Cloud Cuckoo Land" (6:05) more fairly standard jazz. Nothing too special or innovative here. (8.5/10)

8. "Never The Same Way Once" (7:22) This one has a very CHICK COREA/RETURN TO FOREVER feel to it (despite not having guitar or anything electric involved). The RTF/Chick sound, style, and pacing is so distinctive; this is quite a remarkable replication. Even the bass solo is pure Stanley Clarke! In the end, all I can say is, "Wow!" (14/15)

9. "The Wooden Man Sings and The Stone Woman Dances" (7:42) Bill finally lets loose--forgets all time constraints--and goes wild--but in a subtle way! Just listening to the high-hat play is enough to cause me to smile and, often, drop my jaw. Then to listen how synced in Bill's kick drum and Mark's bass are. Remarkable! On another run through I could hear how Steve's piano and Patrick Clahar's soprano sax have the same amazing entrainment going on. This band must have had a lot of fun playing with one another. Then there is the final two minutes of the song where Patrick leads the band on a rampage the likes of which Chick & Return to Forever could only achieve in their very prime. Great work, Patrick! (14/15)

Total Time: 58:46

Some pretty standard saxophone-led jazz peppered with the odd syncopation or unusual time signature, but impeccably performed and recorded. I'm not sure how this one sneaks into the "progressive rock" genre--I suppose only on the coattails of Mr. Bruford's name and legacy.

91.66 on the Fishscales = A-/five stars; a minor masterpiece of modern JAZZ--putting on display just the kind of subtle nuances that are needed to keep jazz fresh and "progressive" yet keeping the music accessible, memorable, and beautiful.

P.S. Very cool album cover! 

KOOP Waltz for Koop (2001)

A totally refreshing example of some kind of nostalgic NuJazz from Swedish duo of Magnus Zingmark and Oscar Simonsson, going under the name KOOP.

Lineup / Musicians:
Magnus Zingmark
Oscar Simonsson
With:
Dan Berglund - bass
Ola Bothzén - Bongos
Magnus Lindgren - Flute, brass (reeds)
Matthias Ståhl - Vibraphone

1. "Waltz for Koop" (featuring Cecilia Stalin) (3:06) (10/10)
2. "Tonight" (featuring Mikael Sundin) (2:54) (9.5/10)
3. "Baby" (featuring Cecilia Stalin) (3:47) (8.5/10)
4. "Summer Sun" (featuring Yukimi Nagano) (3:47) (8.75/10)
5. "Soul for Sahib" (3:37) (8.25/10)
6. "Modal Mile" (featuring Earl Zinger) (4:21) (9/10)
7. "In a Heartbeat" (featuring Terry Callier) (5:10) (9.5/10)
8. "Relaxin' at Club Fusion" (4:15) (8.75/10)
9. "Bright Nights" (featuring Yukimi Nagano) (3:55) love the weave of the vibes, brushed snare, bass, and vocalise combination during the introductory minute and twenty. Unfortunately, the song needed some change--a shift or detour somewhere along the way. (8.75/10)

Total length: 34:52

90.0 on the Fishscales = A-/five stars; a near-masterpiece and remarkably fresh expansion on the musical tract pioneered by MASSIVE ATTACK and the trip-hop and house music mixologists of the 1990s.