Jazz Fusion Reviews

Introspection marks a departure for Greg Howe from his previous efforts that were harder and more heavy-handed. When I first listened to Introspection, I really had to step back and gain my bearings to find a frame of reference to put it into. Introspection defines the beginning of a new Greg Howe that is smoother, more polished, and bigger than the previous efforts had led us to believe. The depth and style in Greg's playing require us to reevaluate and try to redefine what Greg is. Greg's style is characterized by complex and speedy phrasing with unending contrapuntal savvy delivered in a deft, legato-rich packaging that makes the speed deceiving. The range of composition is impressive and I would hesitate to try to define it within any genre. But, that's probably what Greg had in mind when he composed Introspection.

I think that if a person were to listen to Introspection without ever having heard anything else released by Greg Howe prior to Introspection, they might have one impression of it and those that had listened to Greg Howe prior to that might have a different impression. Greg Howe definitely changed gears on this effort and widened his musical scope drastically. I am still amazed after nearly ten years that he pulled it off as well as he did. Greg's playing prior to Instrospection, though impressive, was dominated by hard, aggressive rock-driven stylisms along the lines of Van Halen, Satriani and Vai, but definitely with a Greg Howe uniqueness and spin on things. On Introspection, Greg Howe has introduced a plethora of new stylisms and dimensions to his musical talents. Though there is an obvious carry over of his aggressive style and speed from the previous efforts, Introspection is a marked change in the packaging of these elements. The new packaging is more subtle, more graceful, more fluid, more classy, more refined, more polished, more melodic, more musical, and definitely has a much wider accessibility. But, many of the mainstay elements of Greg's playing that made him famous in the first place are still present; the blinding speed, the driving aggression, the relentless intensity, the unending contrapuntal phrasing, the constantly shifting underpinnings, and the seamless continuity. The range of composition on Introspection is very eclectic and rivals Steve Morse in compositional scope.

The genius in Introspection is that Greg has composed some very technically involved compositions that are able to achieve widespread appeal. The guitar work is first rate and world class. The production is as near to perfect as I have ever heard. The instrumentation and ear for tone is nothing less than spectacular. The composition features impressionable melodies, complex harmonization, constantly shifting themes and grooves, and lively rhythms that grab your attention and keep it by not repeating too long before the next change. Greg Howe has a certain type of pschological mastery that he knows just how long to work an idea before it is time to move on to the next idea. And, he has a similar mastery in balancing involved, guitar-intensive, speedy sections with slower melodic sections. There is so much thought put into these elements that I wonder if most listeners can appreciate Greg Howe's depth, though they probably will enjoy the fruits of that labor because of the obvious groove, funk, feel, style, and class that Greg imparts to his playing.

Introspection is a nonstop, all-you-can-listen buffet of easily-accessible, musical morsels and tasty guitar chops from beginning to end. The compositions balance and compliment one another in their style, tone, feel, and tempo. Introspection kicks it into gear with "Jump Start" which is an upbeat fusion composition that lets you know right away what Greg Howe is all about this time around. "Jump Start" mixes up some cool jazz-like riffs, some blistering quick runs, catchy themes, and Greg's wits as he knowingly tells you that he has reached a new level in his art. "Button Up" ensues with another funkin' groove that trades off with the emphatic melody line. And, there is no shortage of smooth, polished, speedy guitar work on this track either. "Come And Get It" is next with a full, frontal assault of aggressive fusion that is balanced with more appealing melody lines that diverge into some grinding, well-felt, rhythmic lead work that always maintain well-proportioned tone and balance without overstatement. The bouncing bass line for "In Step" sets the stage on this track that bounces back and forth between the funky groove and the uplifting melody line that pull back and forth in a tug of war.

And, so the remainder of the effort goes on with each track blessing us with one savvy idea after the next out of the creative mind of Greg Howe who is capable of delivering his sophisticated, accessible musical ideas with his blazing fast, virtuoso guitar technique at his beck and call. Greg takes full advantage of his speed and scope of technique that make the range of his musical composition much wider than the average guitarist. Greg Howe's ear and sense for melodies make Introspection very appealing and easily accessible. The inherent complexity of his advanced music theory, harmonization, rhythms, and guitar technique give the music a timeless depth that ensures that Introspection will survive the test of time.

Introspection has been in my permanent rotation since I purchased it way back when it was first released in 1993. It is one of my prize possessions in my music collection, especially since I have an autographed copy. Introspection can be listened to on its own for focused listening, and it is just as pleasant as background music at work or around the home. It is like a fine wine that just keeps improving with age. Definitely consider adding this one to your collection if you are an adamant guitarist or jazz fusion fan.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

What strikes me most about Greg Howe, is that if you had never seen him before and just met him by chance someplace walking down a city street or in the Allentown mall, then you could look at him, see a person, but have absolutely no comprehension of what capacity his mind and his hands possess. But, if you were sitting in a chair a few yards away from the stage at the old Peppermill Bar down in Center Valley when he climbed up onto that stage and started playing, then that comprehension would quickly enter your mind and you might not want to pick up your guitar for a very long time after that because you had just learned the futility in it. The old joke goes... An aspiring guitarist asked a master what advice he could give to a beginner and the master said "quit". And, the reason I have recounted this little story to you, is because Parallax by Greg Howe has the same sort of beneath-the-surface superman quality as Greg does in person. It took me a long time to be able to grasp everything that Greg had put into Parallax, but after seven years with it I am finally getting there. ;)

So, I think you can probably gather from my opening here, that one thing you might find with Parallax is that it may not be as easily accessible as some of Greg Howe's other works. But, once you get past that, what you are going to find is that Greg has laid down some of his best guitar work and arrangements on Parallax. The inherent complexity in his tonality, time signatures, directional changes, and staggering lead work make it difficult to absorb it all at once at first, yes. But, once you have absorbed it, you are going to find that there is some really incredible music here that you will be hooked on if you have any inclination for instrumental jazz fusion, and especially if you are a guitarist. So, for me, for some reason, I can listen to Parallax all day at work or home, but not in the car when driving. It is too mentally involving and distracting for me to listen to it while driving. But, I would not say that it is really that far outside in its tonality or timing that it is approaching impossible to grasp as I find some other jazz fusion players. Parallax is more down to earth than that, for certain. It just takes a lot of attention to really follow everything that is going on. And, if you are used to the extreme outside players, you are probably going to love the relative accessibility in Parallax.

Favorites. "Dance" for certain. "Dance" has some really cool themes, changes, development, and wicked good jamming. Man, does Greg Howe make jazz fusion stylish on "Dance"! There are no issues with accessibility on this track. "Joker's Wild" is pretty easy to grab ahold of too. "Joker's Wild" has got a funking groove that sets the backdrop for some guitar antics by Greg Howe that lead into his signature savory, jazzish melody lines. The chordal phrasing that underly these melody lines are pretty cool, rich in harmonization yet easily digestible and with Greg's savvy rhythms packing the punch to drive them into your psyche. And, did I mention the blistering fast leadwork that ensues? How can he follow those complicated chords at those speeds???... But, he does, and it is amazing. "The Portrait" brings a moment's peace to the album to balance the remainder of the album that is laden with the guitar pyrotechnics that Greg spreads so liberally throughout. "The Portrait" is a beautiful acoustic piece that weaves variations around a theme of Greg's own creation. "On Sail" is another rich composition that also lends some accessibility to the listener with its soothing chordal arrangements and rhythms, its melodic themes, and its easy-to-grasp guitar work (though I doubt it is easy to play).

Parallax is pretty diverse in the character of its tracks. So, as with most of Greg Howe's music, it is difficult to simplify it with a genre labeling. However, on this effort, I would say that Parallax seems to fit more conducively into a jazz fusion type of style, moreso than any of Greg's other works to that point in time.

So where does that leave us with Parallax? I would say that if you are approaching Greg Howe without much listening experience in real, heavy-hitting jazz fusion then you should buy Introspection or Five first. But, if you do have a good listening background in the real thing, you may want to check out Parallax first. I think some might argue that Parallax is the best of the three by Greg Howe I have just mentioned, and possibly his best to date. From a technical perspective, Parallax looks to me to be the most impressive effort that Greg Howe has produced to date.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Greg Howe returns in Five to lay down some more stylish tracks that demonstrate that he is not done improving upon himself. This is my favorite Greg Howe CD to date. This effort brings a balance between composition, virtuoso sophistication, and tone mastery that together achieve perfection. The judgement in this balance is exceptional. The result is a collection of tracks that you can listen to over and over again without ever getting tired of hearing them and always being able to find something you didn't hear the previous times you listened to it. Five grows on you the more you listen to it. So don't expect to be clubbed over the head the first time you play it. Greg Howe is more subtle and involved than that.

Greg Howe showcases his silky-smooth and refined virtuoso guitar technique with sophisticated flavor that will make you gulp it down like a hearty helping of tasty creme brulee. Greg has a subtle finesse in his playing that makes his speed deceptive and makes even staccato sound smooth. The control and finesse that Greg Howe has in his lead playing on Five is incredible. He can play staccato picking so refined that you have to listen closely to be sure it is not legato. Deft, deceptively fast, controlled aggression, and subtlety are all qualities that Greg keeps tucked away under his black belt of jazz fusion mastery. Greg's playing is so amazing that if you can pull your focus away from it and stand back long enough to hear the music you are going to be even more blown away. Greg not only pays attention to each and every tree in his compositional landscape, but he sees the big picture of how the trees are arranged in the forest and uses each tree to maximum effect in the overall picture. This sort of musical genius is very uncommon and is staggering to me.

So, enough about Greg Howe's incredible guitar pyrotechnics. Let's talk about Greg Howe's incredible compositional style and sagacity. Greg Howe lays down some guitar chops that are not only impressive on their own, but that together are balanced with a contrapuntal savvy that, to me, is unparalled in anything I have ever heard. Greg somehow finds the balance between guitar technicianry, exquisite phrasing, accessible melodic invention, and captivating direction and changes of direction that will leave you with your jaw on the ground the more you listen to Five. The compositional content is diverse yet bound by a common thread that is Greg Howe's relentless pursuit of accessible rhythms, progressions, melody and harmony with a style that is undefineable, but that is unmistakably Greg Howe; aggressive yet smooth; driving yet refined; speedy yet polished - incredibly polished; and a staccato that paradoxically is legato. And, Greg's sense of dynamics, balance, feeling, and production are so tactful that there is not a single note on the whole album that stands out in a bad way no matter how much you listen to it. Greg is never heavy handed and always keeps it under control... but don't think this means that he lacks aggression, because there definitely is no lack of aggression here.

Oh, how could we narrow out some standout tracks on Five? This would be nearly impossible and unfair to Greg. We could say that Greg Howe doesn't hold back with the opening track, "Just Kiddin'", and demonstrates that he has an uncommon ability to convey a human personality trait in music that really captures that feeling of somebody pulling your leg, as well as just being unbelievably good music. "Three Toed Sloth" opens with a slightly dissonant, crunching riff that does characterize a three toed sloth, but then takes an unexpected turn into the composition's melody line that is pleasantly upbeat and satisfying. Kevin Vecchione lays down some bass work that gives Greg a go for his money on this track as well. And, the lead work is devastating with the blazing fast sections balanced with the melodic sections.

"Quiet Hunt" is a tasty acoustic track that features some very quick and intricate fretwork. "Quiet Hunt", though very speedy for an acoustic track, brings a sense of balance to the rest of the CD by contrasting the aggressive electric tracks with a more relaxed, acoustic tone. But, let me say again, I doubt there was anything relaxed about Greg's playing on "Quiet Hunt" because he is flying over the fretboard with amazing precision and cleanness that defies the laws of physics.

The track "Bach Mock" is a striking hint at what is to come as Greg took a divertimento into the neoclassical genre with Vitalij Kuprij and on his own with Ascend after this effort. When I first heard "Bach Mock", I had a very strong premonition of what Greg Howe was capable of in the neoclassical genre... a premonition that was soon realized fully in High Definition with Vitalij Kuprij. "Bach Mock" is a raucous little prelude composed in the obvious style of JS Bach and adds yet another level of depth to the composition in Five.

The closing track on Five is definitely one of my favorites. "Skyline" possesses a certain class and style that to me characterizes and encapsulates Greg Howe's savvy. There is a certain simplicity in the underlying theme that "Skyline" is based around and makes it accessible, though the underlying groove does move quite nicely and the simplicity is again deceptive. But, the melody lines and grooving leadwork have a sophistication that is deftly complex and intricate. Greg Howe is a maze of paradoxes.

No matter what angle you look at it from Five is impressive and it remains impressive each and every time you return to it, regardless of what you had been listening to prior to your return. Five, to me, is the definitive Greg Howe album. It accentuates all of his best qualities as a guitarist, a musician, and an artist.

Five is right behind Introspection in my permanent rotation. The only thing wrong with Five is the title. It should have been named "Ten" to correspond to the rating I would give to it. Five is perfection that will defy time and that I am sure will prove to be timeless as it was designed to be. Five is a true landmark in accessibility for jazz fusion. I have played Five for many people who had little musical expertise and nearly all of them liked it. Five is a favorite among discriminating musicians and enjoyable by less educated listeners as well. Truly World Class... whether you are a guitar guru or a music fan... just BUY IT! NOW!!!... End of discussion.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Greg Howe: Ascend

Greg Howe follows up his neoclassical work on High Definition in a solo effort that focuses solely on neoclassical. Maniacal stands out among the others. The syncopated rhythm is disturbing yet compelling. If you don't have a stable heart, be careful not to play this one too loudly. The composition is nothing short of brilliant, making Maniacal one of my all time favorite neoclassical tracks. The rest of the album maintains a high level of excellence, as we have come to expect of Greg after High Definition, but does not maintain the relentless drive that is accentuated in Maniacal. Greg's playing and composition on Ascend are world class, but I've listened to High Definition so much that I've now gotten used to it. One surprising aspect to this album is what seems to be a Rush influence that I had not seen up to this point in Greg's playing. Greg's influences are diverse in style and genre but all have one thing in common: they are all outstanding musicians and this shows in his absorbtion of styles.

The rating on this one depends on your taste and preferences. I go back and forth on this one, depending on what type of music I want to hear that day.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

When Hyperacuity was first released, I had high expectations for it because of the smorgasboard of incredible music that Greg Howe had been cranking out lately. And, I have to say that at first I was a little disappointed with Hyperacuity because it was not quite what I had anticipated. Then, I realized that the problem was not with Hyperacuity, it was with my expectations that were thinking that Hyperacuity was going to be more like Five. Well, it turns out that Hyperacuity is more like Hyperacuity than Five. ;) I should rather have expected that Greg Howe would not repeat himself and that he would continue his quest for musical expansion and diversity to new feeding grounds, as he has on Hyperacuity. However, if you were expecting a lot of very fast and sophisticated axe mauling on Hyperacuity in the great Greg Howe tradition, you are not going to be disappointed at all.

OK. Now we have covered expectations. So this brings us to the next issue with Hyperacuity: listener accessibility. The accessibility in Hyperacuity is definitely going to depend upon your frame of reference. If you have already digested Parallax or if you have broad experience in heavy-weight jazz fusion, you are going to gulp Hyperacuity down like oreo-cookie ice cream pie slathered in hot fudge sauce. Otherwise, if you are not really ready for the big time then you are going to require Greg Howe's freshman orientation class... maybe you should try Introspection first to ease your transition. And, this is not to say that Introspection is not of high caliber, but that it is probably a little more easily accessible and probably is not as involved in the outside tonal exploration. So, to summarize accessibility, Hyperacuity is a CD that I can listen to all day at home or work, but with the exception of a few tracks, I can not listen to it while driving or I start driving like a person talking on a cell phone because it is so mentally involving.

Now, for those of you who have already graduated through Greg Howe's school of advanced jazz fusion, let's get on with the hunt.

Hyperacuity is phenomenal. Greg Howe has once again demonstrated a unique ability to work with advanced tonality at high velocities and to pull it off without a hitch. All of Greg's patented traits are available on Hyperacuity: the death-defying, wind-chasing speed; the silky-smooth, legato-rich style; the relentless aggression; the nonstop, attention-grabbing directional changes; the talent for inventing unworldly melodies rich in unusual tonality; the sophisticated chordal progressions and harmonization; the advanced rhythmic underpinnings; and the uncanny ability to weave a thread of feeling through a maze of complexity to make it all sound seamless. Hyperacuity is material fit for study at music school.

Standouts on Hyperacuity... hmmmm... that wouldn't be easy to single any out. It is a pretty solid effort. But, Greg Howe pays awesome tribute to Stevie Wonder on "I Wish". Greg really assimilates a Stevie Wonder feel and demonstrates an amazing grasp on Stevie's character that eminates in his music. The easily accessible and well-known groove on "I Wish" make it my favorite from Hyperacuity, especially with the smoking, ice-cool rendition that Greg Howe has made of it. Stevie would smile... and may have if he has heard it. "Receptionist" is a pretty cool track too. It starts out with some complex rhythms on the drums accompanied by some other effects including a flute and then suddenly transitions like a radio that is changed stations to a swing jazz standard section that Greg lays down some classy soloing over. Greg has composed another acoustic masterpiece with "Order Of Dawn" that features some complex chordal harmonization, rhythms, and arpeggiation. We are now coming to expect an acoustic masterpiece from Greg on each album. The other tracks are diverse but probably more along the lines of the unique spin-off of complex fusion that Greg claims mastery over. And, they are all good.

So, in summary, if you are a fan of Greg Howe's style of speedy, fluid fusion and eclectic composition, you will be obligated to add Hyperacuity to your collection. Arguably Greg's best work to date.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

CAB follows up their popular 1998 premiere with CAB 2, adding Brian Auger on keyboards to the all-star lineup. If you like the initial release by CAB, you will probably like some of CAB 2, if not all of it. CAB 2 is similar to the original, self-titled release by CAB in its sound, texture, and compositional style. The music is centered around themes with complex melodies that explore nonstandard, fusion-oriented harmonization. The tracks are groove-based, setting down progressions characterized by unusual, jazzish tonality and complicated rhythms that the instruments then trade off lead work over when they are not collaborating on a theme.

Being a fan of MacAlpine, I have to admit that I picked up the original CAB and CAB 2 primarily to see what he was doing on them. And, MacAlpine's playing is interesting and blazing fast in spots, as I would expect. But, what I didn't expect is that I would like Bunny Brunel's bass playing so much, especially since I am not a big bass follower. Because it was unexpected for me, I think Brunel pretty much steals the stage on this one. He has several exceptional solos and his playing in general is good throughout, though all of the instrumentation is good and none is lacking. I think it definitely says a lot that Brunel's bass work caught the attention of a guitar-centric listener like myself. He has a great feel that he conveys in his playing and approaches the bass more like a solo instrument taking advantage of string stretching and other effects to give the bass lines and solos character beyond what you might here with a more conventional bass player. Brian Auger also brings a new dimension to the group with his angle on the keys, but his playing is not that far off from the MacAlpine fusion sound from the CAB premiere. Auger definitely lends some stylish improvisation and speedy solos to the effort. And, Dennis Chambers adds his savvy brand of fusion drumming to the mix to give the sound another dimension and more depth.

My favorites from CAB 2 are "Decisions" with its themes that balance tonal complexity with accessibility; "South Side" with its catchy groove and smoking bass, keyboard, and guitar lead work; and "Top Spin" with its solos, and especially Bunny's cool bass solo. But, I was a little disappointed that the group did not capture the electricity on any tracks like they did on "Elastic Man" from the the first CAB release. However, CAB 2 still delivers a solid effort from the group.

If you like melody-centric music that develops themes around exploratory tonality with jazzish foundations that goes outside but not out of the solar system and you like equally-matched improvisation trading off between guitar, keys, bass and percussions, then CAB 2 is something you should check out. Or, if you are a jazz-oriented bass player or have any interest in jazzish bass you should check out Bunny Brunel's exceptional playing on this effort.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

CAB makes its debut with drummer extraordinaire Dennis Chambers, renowned axeman and keyboardist Tony MacAlpine, and bouncing bassman Bunny Brunel teaming up to serve up a collection of aggressive jazz fusion tracks to expand MacAlpine's scope further into this genre that the others already have a firm foothold. The tracks on CAB can be characterized as funk/groove-oriented, theme-centric arrangements having an aggressive drive to them but that are balanced with complex yet digestible rhythms, tonal backdrops, exploratory yet accessible themes, and lead work that trades off between bass, guitar, keys, and drums bringing to view the talents of all three contributors. The format seems to be a forum mainly to display the improvisational capabilities in the realm of fusion for the three comparably matched solo acts that collaborate on this effort. CAB is reminiscent of the rock group Cream in concept, but with a jazz fusion spin-off. CAB is definitely leaning toward the rock edge of fusion in its feel, guitar work, and arrangements, though it does seem that Brunel and Chambers are tugging the rope vehemently in the other direction. And, it is kind of a paradox that MacAlpine's keyboard work on this effort is more jazz-oriented than rock, and yet his lead guitar work has a decisive rock edge to it.

CAB takes it straight to you with "Night Splash", a track that is pretty representative of what you are in for with this CD. "Night Splash" lays out the format of improvisation built around shared thematic development as a center with the improvisation collaborated by all four instruments involved, usually with one instrument in the spotlight, and definitely with all instruments being managed by players of near-equally matched skills in the supergroup tradition. What is nice about this format is that the thematic center gives some cohesion to the track that the improvisation can then venture out from and return to when it is time to trade off. This format works well for me as a listener.

There are a number of tracks on CAB that make it worthwhile, each having a different feel that is pulled from some different influence or creative facility. In fact, the effort is pretty solid from beginning to end. So, if you like jazz fusion with a rock edge, it is a good one to pick up. Some of the other tracks that grabbed my attention were "So There Is Love", "Boogie Me", and my favorite on the album, "Elastic Man".

I think the CAB formula works best on the track "Elastic Man" that sets a nice backdrop with the smooth jazzish progressions, grooving rhythms and spunky basslines, that are contrasted by the opening, teasing theme. This backdrop and intro are then decimated first with MacAlpine's soulful keyboard solo and then his full-frontal assault of ripping guitar work featuring some really cool muted, speedy runs that gives the track its character and title. MacAlpine then with a single grinding stretch lets you know that it is time to pull out the stops and lets the shrapnel fly with some shredding that works nicely over the jazz foundations. If that weren't enough, Brunel lays down some incredible bass work throughout and especially in his solo that is able to keep things going even after MacAlpine's inspired solo that doesn't leave much room for conversation afterwards. I think that "Elastic Man" is the type of arrangement that would have a broad appeal that spans well beyond the jazz fusion listening audience... it is coooool!!! {8{)

I enjoyed CAB for its listener accessibility, aggressive brand of rock-edged fusion, and impressive soloing, especially on bass and guitar, though the keboards and drumming are really entertaining too! The tonality is both interesting and satisfying. But, from an listener's viewpoint it is good how CAB balances complexity and jazz-isms with listener accessibility; a touch juggling act for any arranger, but one that CAB has pulled off pretty well.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

The Derek Sherinian - Tony MacAlpine - Virgil Donati collaboration known as Planet X has released a collection of exploratory tracks on Universe that are right out there with the real Planet X. The tonality on these tracks is pretty dissonant across the board which makes the music pretty inaccessible to the average listener. For an educated ear, the tonal exploration and lead work that follows it could be pretty interesting. However, the characteristic of this music that made it lacking in luster for me was the oppressiveness of the rhythms that drive the outside-sounding progressions and harmonies. The rhythms sounded very monotonous and stale to me causing the music to become oppressive to listen to.

It is amazing how MacAlpine can shift gears so easily and switch from one genre to another as seamlessly as a chameleon. MacAlpine's playing is impressive, as always, and even moreso to some extent because of the difficult progressions he harmonizes with. In fact, all three are obviously great musicians, but the end effect just does not strike a resonance with me. I was disappointed that there was not more melody and cohesion in the composition, but instead there was intangible harmonization, disenchanting rhythms, and a conspicuous absence of inspiring melodies that have made MacAlpine one of my favorite musicians. In a word, dissonance. But, maybe that's what you might find on Planet X and that is what was intended. I think there may be a divergence in opinion over Universe by Planet X among the average listener and the educated musicians because of the inaccessibility of the harmonization involved and general dissonance. But, my primary goal in this review is to warn the listeners what they are getting themselves in for with the dissonant foundations that Universe is based upon. This is definitely not a sound for MacAlpine that is within the scope of anything he has done before, at least that I have heard!

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Normally, when I am preparing myself to listen to Frank Gambale, I have to gain my composure and resolve for an overload on my senses. But, this time around with Coming To Your Senses, Frank Gambale has truly come up with some music that will delight your senses without the overload. Normally upon listening to a Frank Gambale album, I am inspired to stop playing guitar because I see the futility in the long hours of practice for me. But, this time around, Frank Gambale has inspired me to abandon all hopes of composition, as well as to stop my guitar playing. This is what truly great music is all about... disheartening the lesser-talented musicians of trying any longer! ;) The threshold of good music is raised so high that it becomes unattainable by mere mortals.

So, what is it that I find about Coming To Your Senses that is so satisfying? Well, Frank Gambale's ludicrous guitar talent is known widely; this is no secret. But, what was surprising to me about Coming To Your Senses was the attention given to thematic development and listener accessibility. Frank Gambale has tightened the reigns on this effort and pulled himself in a little ways from the extreme fusion guitar mauling that characterize a lot of his efforts. This effort has a very solid foundation in theme-oriented music with very classy, sophisticated melodies with tenuous, exploratory harmonization that really hits the mark. The music on this album is a little closer to the conventional jazz end of the compositional spectrum than the wildly explorative jazz fusion that sometimes misses with listener appeal. But, the satisfaction derived from the compromise in Gambale's flamboyent guitar mastery and a solid baseline of quality themes, is because with this music you are getting both. It is just that the guitar speed and eccentricity are not the focus, but instead more of a tool it seems.

But, don't get confused by this. Gambale still fires up some awesome playing on this album. It just takes on a different nature. The chordal arrangements and rhythms explore some really interesting and soulful ideas in harmonization. And, the harmonization explored, though very complex and intricate, achieves something very uncommon for this level of sophistication... listener accessibility. And, this is the genius in Coming To Your Senses. I think the appeal in this album will extend beyond Gambale's normal base of hardcore jazz fusion guitarists and musicians into a broader listener audience, while still keeping the respect of his loyal, educated audience... a tough juggling act to balance for any virtuoso-caliber musician... and even tougher to keep it going for an entire album as Gambale has done on Coming To Your Senses. This music will not only "wow" the guitarists, it should be pleasing to anybody who likes jazz or fusion. Gambale definitely did not drop his sweeps and other guitar stunts in his bag of tricks when he was putting this album together. But, it seems he has given thought to deploying them a little differently this time around.

Coming To Your Senses is sensible no matter what angle you approach it from. The production and instrumentation are very tactful. The composition is brilliant. The improvisation is nothing less than you would expect from Gambale, but is tightly integrated with the themes. There is a wide range of dynamics and musical ideas that are seamlessly integrated. And my pet peave, the melodic quality of the themes, is disarming when considering the harmonization it uses for a base... really jaw-dropping. This is jazz fusion at its best: complex harmonization and sophisticated composition packaged in a listener-accessible format with an extreme guitar edge. I recommend this one highly. Solid from start to finish.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

My scheme to obtain objectivity in my music reviews by putting a bunch of CDs randomly into my disc changer so I wouldn't know which one I was listening was blown to smitherenes by GHS3. There just is no mistaking the guitar work of the phenomenal Frank Gambale. And, Mr. Gambale is in extraordinary form on GHS3. This effort from the superhuman trio exceeded all expectations that I may have had prior to listening. Simply put, this album is astounding.

Gambale, Hamm and Smith have produced an extraordinary fusion collage of epic stature on GHS3. The arrangements are subduing with the combination of clean-toned rhythms, chordal phrasings, grooving bass lines, and crystaline, blazing fretwork. Gambale's leadwork is amazing, even by Gambale standards. The balance of speed, melodicity, harmonization, and signature chordal voicings a la sweep picking will be found demoralizing to the most staunch guitar technicians. But do not despair, because the inspiring musicality and accessible content will offset any feelings of inadequacy related to lack of axemanship or inventive skills. This CD will inspire inner peace when contemplating the mastery that the trio projects with their command over their instruments, harmonization, arrangement, thematic invention, and general creativity.

The direction that Gambale is taking on his last few efforts makes one think that they are witnessing the making of the classics of the future and are living in times that will be recounted as legendary when people later reflect upon the great albums that Gambale is producing. Rarely among the CDs that I am sent to review do I ever receive an album of this caliber. There is no other way to put it... WORLD CLASS!!! ... and in every regard. Gambale, Hamm, and Smith demonstrate the criteria on this CD that allows them to be counted among my all time favorites with their double-edged psychological dichotomy... demoralizing and inspiring, both at the same time!

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Members of the jazz fusion groups Vital Information, Tribal Tech, and the Flecktones team up to form the Vital Tech Tones on this uninhibited fusion extravaganza that might be easier to describe by what it is not rather than by what it is. Vital Tech Tones integrates so many different musical elements from so many different musical styles that it would be very difficult to articulate them all and how they are integrated together. Be prepared to bring your full attention span when listening to this album, because you will need it all to follow everything that the trio is going to throw your way. It took me a number of listenings to get my mind around the whole album and to get it into some frame of reference to understand it by. The musical frame does not sit still for the duration of the album and the constantly changing soundscape deploys complex ideas from many different genres and styles of music, as you may have expected from Scott Henderson's fusionistic style. If you are looking for something that is nice, soothing, and reassuringly repetitive and relaxing to lull you into a trance, you had better look someplace else because this is not it.

Vital Tech Tones is a very progressive collaboration of highly-skilled musicians that push their capabilities to the limits of their intelligence. The instrumentation is state of the art for jazz fusion. Guitar, bass, drums... they are all superb. The style is diverse but definitely has the trademark Henderson biting, hard edge to it. But, there is a lot more sophistication to it and I wouldn't want to characterize it altogether that way. Henderson seamlessly weaves jazzy, bluesy, and rock-ish phrasings together over complex chordal harmonies making the listener forget that the vocabulary he draws from spans many different genres and styles.

Vital Tech Tones seems like it is geared towards the techie-musician listener audience due to its progressive nature. Though there are several tracks that may be more widely accessible, I am thinking that the accessibility to a musically uneducated audience is probably pretty remote. But, for the educated ear, there is a lot to absorb and jazz fusion fanatics will probably enjoy this effort immensely. And, the sound is not too far outside that it is not digestible.

There are several tracks on this album that struck my fancy. "Snake Soda" is a real fusion bullet that is smoking with driving, raw jazz, rock, and blues phrasing. "King Twang" has a Henderson spin on the blues that features some raucous bluesy riffing put into a quickly moving frame. The trio cover the jazz standard "Giant Steps" with a vision and style that is sure to raise your brow if you are familiar with any of the earlier versions, such as that by John Coltrane. Wooten gets down on the bass in "Giant Steps" with some soloing that is sure to impress the most staunch bass critics. It is really interesting to hear the chord progressions voiced on the guitar and Henderson gives the interpretation a character that brings them to life.

Vital Tech Tones is lesson material for any aspiring guitarists, bassists, and drummers. Musicians, jazz fusion connoisseurs, and Henderson fans will probably constitute the bulk of the happy listening audience for this album. The outstanding technical proficiency and high art demonstrated on Vital Tech Tones will surely strike a resonance with the educated audience.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

The Vital Tech Tones reuinite to produce their second exotic fusion effort to date, VTT2. VTT2 follows suit with the original release from Vital Tech Tones. The format, style, and sound are similar. This release again features more hard-hitting instrumental intensity from Henderson, Wooten, and Smith. Henderson's guitar work once again spans many styles but has a biting, aggressive edge to it that gives a recognizable, signature character to the diverse harmonies that he explores. The technically intensive nature of VTT2 will probably lend it best to an audience with a well-educated listening ear and a taste for sophisticated jazz fusion. Though not altogether inaccessible to a general listening audience, I have doubts about the accessibility of this progressive material to the musically uneducated masses.

Once again as with the original release from the trio, I had to listen to this album a number of times before I could get a handle on it. The group throws a lot at you and it is not easy to absorb it all the first time through. But, there are definitely several tracks on this effort that caught my attention more than the others. "Catch Me If U Can" is a funky little groove that features some really awesome bass work by Wooten that trades off with Henderson's resolved soloing. "Who Knew?" is an accessible track that centers around Henderson's tremolo and vibrato work that pulls the tasty melodies slightly away from the tonal centers throughout in a manner that makes them a little disoriented and evasive, though appealingly so. The guitar and bass solo work that accompanies utilizes the same tremolo and vibrato effects, achieving a very cool result. There is a certain emotional feel that is articulated with these effects that really conveys the title "Who Knew?". This track is definitely my favorite from VTT2.

If you like progressive, intensive, instrumental jazz fusion, VTT2 will find a good home in your collection. Henderson's axework is impressive and is presented in an earth-bound format on this release. Victor Wooten romps all over the bass. His playing is technically advanced, proficient, inspired, and hits the target with accessible grooves and musical ideas. Though I am primarily a guitarist and admittedly guitar-centric, Wooten's bass playing was the highlight of this album for me. Steve Smith livens up the rhythm section with his unique brand of savvy percussion work that lends style, sophistication, and character to the tracks.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Joel Hoestra rebounds from his phenomenal genre-exploring, debut release, Undefined, with a compositional masterpiece of completely original and unique instrumental material on The Moon Is Falling. The unexpected change in direction caught this reviewer completely by surprise and left me thinking that this follow up to Undefined should have been named "Unexpected - Redefined" because Joel Hoekstra has completely redefined his scope and artistic depth on this release. The album consists of complex, mind-bending compositions in a concept album format where the tracks are bound by a unifying thread of musical continuity that runs throughout the album giving it a paradoxical cohesion relative to the diverse musical ideas that Hoekstra explores. Though Hoekstra's guitar work is advanced and impressive, the fretboard finesse that Hoekstra demonstrates on the album is merely a tool that he uses to shape his musical vision that is dominated by the compositional genius that Hoekstra has achieved on this effort. Fans of Hoekstra's first release, Undefined, should abandon any expectations of a sequel that resembles in any way his previous effort. Hoekstra has taken aim on defying categorization based on his debut release and has succeeded in making a complete departure from his first album's style.

The album opens with a disillusioned descent into instrumental madness that is reminiscent of Ron Thal's impressionistic compositional style that uses musical motifs to paint emotional imagery targeted at the listener's subconscious psyche, though in no way infringes on Thal's patented style. Though Hoekstra at times sounds redolent of many other instrumental artists, the manner it is done leaves the listener with the uncertainty of whether it is due to true influence or coincidental exploratory coverage of the same experimental territory. Hoekstra delves into many complex tonal themes and savory chordal phrasings that are carefully crafted together into gripping, dynamic arrangements that leave the listener bewildered with amazement because of the seeming incompatibility of the enigmatic motifs that are woven together into confoundingly coherent, exotic compositions. And then, these multifarious pieces are complemented surprisingly on other tracks by translucent melodies that haunt the listener with their eery, unearthly harmonies. Some of these melodies summon nostalgic flashes of ancient, classic musical themes from a wide variety of epic tunes conceived by the likes of thematic masters such as JS Bach, Billy Joel, Eagles, Lyle Workman, and Steve Morse, among to many other disparate artists to even attempt to list. Though again, the similarity in these profound themes to the apparent influences leaves the listener with the impression that the flares of congruence are fortuitous. And, though these bursts of impressionistic flashbacks are striking to the listener, their role in the overall scheme of the compositions are more or less subservient to the overall dauntingly intrepid and captivating mosaics that they fit. The range of styles that Hoekstra seamlessly integrates throughout the compositions is staggering, traversing many genres such as jazz, fusion, funk, classical, and concept rock, as well as many styles and schools of thought within them. This transparent integration of diverse styles is done in a deft manner that makes the listener feel as though there were some natural affinity for these incongruous styles to belong together as incorporated in and revealed by Hoekstra's enlightening revelations of stylistic fusion set forth on this CD. The net effect of Hoekstra's colossal efforts on The Moon Is Falling is a modern epic of composition, technical execution, and conceptual content that will leave fans of instrumental musics in a state of astonishment pondering the visionary musical vision contained on this album.

As a parting note on this review, I will add that due to the originality and uniqueness of the content on this CD, this was one of the most difficult reviews that I have had to write to date. There really is nothing that I am familiar with that this CD could be compared to give listeners an idea of what it sounds like. The guitar work and incredible composition will surely be of interest to fans of progressive instrumental music. But, though this CD has found a fan in this listener's ear, I am not sure what audience this CD will appeal, even among fans of progressive music. The album has a very unusual dichotomy of complexity and accessiblity that makes it difficult for me to predict what listeners will acclimate to it. Be that as it may, I recommend that all fans of progressive instrumental music check out The Moon Is Falling from Joel Hoekstra and give it a chance to sink in. This is definitely not the type of album that most listeners will be able to fully absorb the first time through. But, this is the type of album that a listener will never grow tired because of its constantly shifting sonic soundscapes that relentlessly challenge the listener with one theme after another transitioning with constantly unpredictable directional changes that often resolve into profoundly and deeply satisfying conclusions.

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Joel Hoekstra has come up with a collection of tracks that aim to make this album fall into the category of "Undefined" in your local music store. Though there is a definite thread of style that is woven through this album, Hoekstra is not easily pinned to one genre or style, and apparently likes it that way so that he is free to indulge in his wide-ranging musical fancies. Undefined squarely plants one leg in the realm of jazz fusion, but hops around with the other leg into a number of other musical styles resembling smooth jazz, progressive, instrumental rock, and sometimes just plain, goofy (though musically involved and entertaining) songs. But, Hoekstra is not contented by just staking his wide musical territory, and he is intent on proving his talent and capabilities in every venue that he ventures into.

The album opens with a slew of tracks that establish the groove-based jazz / fusion foundation of the effort. The tracks present accessible themes, rhythms, and grooves that are accentuated by Hoekstra's savvy brand of soloing. The stream takes a diversion with the sixth track, "Gorilla Man 2000", that introduces a more hard-edged rock style with its crunching, distorted rhythms and instrumental rock-like guitar solos. This new dimension to the album is a pleasant surprise because it offers a new direction that adds scope to the overall concept. But, Hoekstra does not stop there. The next track, "Kill Swing", ventures further out into the realm of musical styles by incorporating into the album the swing jazz underpinnings that are highlighted by the aggressive, fusionoid guitar solos that immediately bring Scott Henderson to my mind. This track, "Kill Swing", seems to me to be the point in the album where Hoekstra really opens up and lets loose in a manner that makes you think he was holding back up until this point in the album.

Now that he has grabbed your attention with his divergence from the low-keyed jazz / fusion that characterizes the early part of the album, Hoekstra continues on his boundary-stretching rampage with the next track, "Space Cowboy". "Space Cowboy" is a goofy, country / Western, finger-picking, cowboy jamboree that spoofs the old-time Chet Atkins guitar style with Western vocals. Though the song spoofs this type of Western, it actually pays an impressive tribute to the style of country / Western guitar work that it embraces and does so in a very entertaining way through the use of space-oid affects and the comical lyrics. The versatility demonstrated by "Space Cowboys" is reminiscent of Steve Morse's wide scope of styles.

Hoekstra is able to continue his romp through the realm of musical styles with the track "Slide Tune" that brings yet another pleasant surprise to the album. This track features some very melodical and well-felt slide guitar work. The themes presented are really classy and addictively accessible with their upbeat and inspiring nature. The feel is that of a straight ahead rock song, though strictly instrumental and thankfully so because the instrumental music stands on its own. "Slide Tune" is my favorite track from the album and is good enough that it could receive radio airtime on a number of different venues.

Sometimes you might listen to a new album where the musicians try to cover a wide array of styles to demonstrate their Steve Morse-induced need to prove their diverse capabilities. Once in a while, you will come across a new artist that is actually capable of pulling something like this off without seeming like an imitation, and, in fact, seems more like the genuine article. Hoekstra is the exception that can pull it off, and he has on Undefined. This guy is a the real deal and is worth checking out. If Virgil Donati thought this music was good enough to warrant his attention on the drums, this just might be an indication of the caliber of music that you will get on this album. It's not just good music here, it's good entertainment!

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Gerald Gradwohl

Gerald Gradwohl is a serious, progressive jazz guitarist who spans a range of styles and influences within multiple jazzish genres from silky smooth jazz to rip-roaring fusion, always with intensive guitar work. One of the aspects of Gradwohl's musical style that really strikes me (in a good way) is that he has a lack of inhibition to indulge in the different styles and feels of jazz that appeal to him. He covers a wide scope of musical style and feeling from smooth, intricate, and sentimental to aggressive, driving, and high-energy. It is entertaining because you can get a wide range of musical diversity from just a single artist.

The authenticity that he has in his passion for the many shades of jazz that he embraces is apparent in his music and takes the form of a mind-stretching style of music that is highly entertaining and easily accessible. Gradwohl is one of the few players who can venture out into the vast complexities of progressive jazz while keeping a solid perspective on musicality and accessibility. You can listen to some of his chordal voicings and think to yourself that sounds really nice and digestible, but when you listen closer to the harmonization that he is exploring, you will also realize that there is a little more depth and complexity there than a cursory listening might impart. And, that is the real trick to good jazz!

Gradwohl's soloing can be deceptive, as well. Sometimes, his smooth fretwork masks some very nimble phrasings and complex harmonization that could easily be missed by a listener that was lulled into complacency by his finesse. Other times, Gradwohl comes straight ahead with gut-wrenching, aggressive playing whose attack won't miss its target, though the finesse is still there. But, Gerald's guitar work is not dominated by an aggressive attack, and is instead well-balanced with diverse dynamics that span a wide range. And, Gradwohl is smart to find first-rate accompaniment with the savvy sax work of such world class players as Bob Berg and Rick Moritza.

I hesitate to compare Gradwohl to the modern greats that are among his influences, such as Scott Henderson, Mike Stern, and Frank Gambale, and only because I wouldn't want to plant expectations in the minds of new listeners. But, once you have taken a listen, the influences are discernable, but there is so much more to it than that! You just have to check it out for yourself. Gradwohl has a compelling style that will make your thoughts fleet in many directions and set off internal debates in your mind. But, in the end, I think you will resolve it the same as I, and just smile and say "ya, he's alright!"

Some albums require more listening than others to gain a sense of where the musicians are coming from.  Working Men by Austrian fusion group, The Powergrade, is one of those albums.  Part of this need for longer absorption latency, I think is due to the lack of inhibition that European musicians have toward stylistic boundaries which allows them to encompass a sometimes unusual scope, such as is exhibited on Working Men.  This album covers a range of styles and influences, but could probably best be described as jazz fusion that has a tendency towards the more hard-edged end of the fusion spectrum, though it is tactfully balanced with more sublime, straight-ahead jazz.  The rhythms and backdrops are a mix of clean-toned, jazzish tonality progressions and hard-edged, grinding, aggressive riffing.  It makes for an interesting combination that does not allow the listener to get to complacent with one type of sound or feel.

The title “Working Men” gives a clue to the perspective this music comes from.  This album is a working man’s fusion that is aimed at a gut level response from the listener and does not get lost in the wilderness of abstract jazz.  (This reminds me of Dire Straights relative to rock, though this album is relative to fusion and bears no real resemblance in sound to Dire Straights.)  The tonality and composition offers some well-developed fusion-oid thinking, but does not lose site of listener accessibility (which suits me just fine!).  Interested fretmasters should take note that the playing on this album is solid, both in polish and proficiency, though I’m not sure if I’d compare the playing to the world class speed/shred-oriented fusion players.  The playing on this album is more oriented toward creating comprehensive music rather than guitar stunts (and I like this).  And, this is not to say that there is an absence of speedy playing altogether from this album, but rather speed is not the objective, but it is rather one tool in an array that is used with moderation rather than excess, striking an appealing balance in the overall scheme of the musical concept.  But do not despair, because there is definitely some ear-catching playing on this album.  There are also a number of accessible musical themes, melodies, harmonies, and riffs that are provided for the listeners’ auditory pleasure.

Working Men marks a shift towards a more aggressive, fusion type style than Gradwohl demonstrates on some of his earlier releases. But, don't take this to mean that the entire album is aggressive fusion, only that there is a shift in the center. Gradwohl demonstrates a raw energy in places that had been restrained for the most part on some of his earlier works with Threeo and Cats & Camels.

Well, overall, I would have to say that The Powergrade makes the grade.  The combination of purist jazz tones and progressions coupled with aggressive, hard-edged riffing that is highlighted by the talented lead guitar work and is packaged in a very accessible format that also offers depth in composition is enough to make it into my listening rotation.  It took a number of listenings for me to acclimate, and though there are a few tracks that I might skip over, I’d say that this is a pretty solid effort with a great variety of ideas that keeps it from getting redundant or stagnant.  There are definitely a number of tracks that hit the groove and I’m thinking that most fusion-heads will “Dig It”!  There is a gut level accessibility in this music that may make this album even further accessible into a mainstream listening audience.  I would think that this would be a great band to catch in the nightclub on a Friday night! (if you could be so lucky to catch a band this good in your local nightclub!)

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Threeo Live marks a change in venue from the original Threeo self-titled release from electric (conventional) jazz towards a more aggressive brand of jazz, namely fusion.  The trio once again teams up with a riveting saxman (kinda like axeman!), this time Bob Berg doing the honors.  Threeo Live is a superb compilation of jazz artistry that will delight fusion fanatics of all creeds.  And, this album captures the raw energy of fusion the way it is best served up… live!

The opening track “Tekknotronic” features the fast-fingered soloing of Bob Berg who sets out to make an impression on the listener with his whailing sax extravaganza.  The Berg sax solo is hottly pursued by Gradwohl’s screaming electric guitar solo that has no shortage of style, speed, or imagination as demonstrated by the outside harmonization that Gradwohl deploys so tactfully (and liberally) in the fusion fashion that approximates Scott Henderson’s attack and high energy.  The wah-wah funk track, “Tribal Dance”, ensues and with a name like that you have to guess that it is going to resemble Tribal Tech… a good guess!  But despite the resemblance, this track is so striking and dynamic that I am not even going to try to describe it other than saying that Gradwohl is all over it!  Nowhere to hide from this onslaught of fusion frenzy!  And, Berg follows up Gradwohl’s solo this time with more sizzling sax soloing.  “Separate Ways” slows the pace before things get too out of control with another tasty Threeo ballade that features exquisite chord phrasings by Gradwohl that follow a deeply-moving progression that is embellished first by Berg with his heart-felt sax solo and is then by Gradwohl’s savory leadwork.  The grace, beauty, and accessibility of this complex composition are a towering monument to Gradwohl’s compositional skills.  Threeo takes a diversion into Eastern tonality with the following track, “Orient”.  The group truly captures the Eastern sound along with the Eastern musical, philosophical vision that drives it.  And, as a parting shot to the live audience, the band says “Take That” with the final track.  Just in case you missed the fireworks in the first two tracks, the band lets it all hang out over a groove-based jazz-blues progression that sets up for the coup de grace that features a rotation of instruments on the soloing that resembles an NBA all-star slam dunk festival.

Though the guitar and sax work are in the forefront most of the effort, I mean no slight to the rhythm section comprised of Wograndl and Filz in the above remarks by ommission of their credits due to overzealous appreciation of the guitar work (my personal pet peave), because, as usual, they are tight as a drum skin and set a solid frame that makes it all work.  This trio is superb, no matter what angle you look at it.

I can’t find enough good things to say about this album.  After one listening, it went straight into my disc changer displacing an ex-favorite in the rotation!  Gradwohl demonstrates an amazing perspective on jazz and fusion on this album.  It is a perspective that seems custom-made to order for my personal tastes!  Your fusion collection is incomplete without this album!!!  Need I say more?

~ Christopher Ruel ~ www.ChrisRuel.com ~ Chris@ChrisRuel.com ~ Chris Ruel's Monthly Spotlight

Gradwohl. Gradwohl.  Gradwohl.  Have you ever heard of him?  Why haven’t I ever heard of him before getting these CDs to review?  This guy has got so much depth in his jazz-centric, musical perspective that it is awe-inspiring.  And, if that weren’t enough, his versatility and flexibility is just as astounding.  Gradwohl slips in and out of different formats as easily and with seeming lack of effort as a chameleon moving from a shady tree into the sunlight changes his colors, this time the format being the classic three piece jazz trio with guitar, bass, and percussion.  The resulting jazz trio that goes by the name “Threeo” has created a timeless collection of deft jazz instrumentals. No, really, it IS timeless… I couldn’t find anywhere on the CD insert where it said when the album was released! ;~)  And, Gerald Gradwohl?  I would compare him to his counterpart across the ocean, Scott Henderson, though Gradwohl seems to have a stronger tendency towards traditional, conventional jazz and listener accessibility.  The similarities are striking, though.  (And, a visit to Gradwohl’s website will confirm that Henderson is his biggest influence, among other jazz / fusion giants such as Mike Stern, Chick Corea, and Frank Gambale.)

Besides the prodigal guitar work of Gerald Gradwohl, Threeo features the progressive bass work of Wolfgang Wograndl and the classy percussionry of Richard Filz.  Rick Margitea adds another dimension to the album’s sound as the special guest with his bag of tricks on the tenor saxophone.  This album has a sound and character that is more consistent with classic, traditional jazz than some of Gradwohl’s other fusion-oriented efforts that I have heard. (i.e. The Powergrade.)  And, though the album seems to be more of a straight-laced jazz variety with some insertional fusion, the harmonization and chord structuring is nonetheless eye-widening impressive and lacking in no way with Gradwohl’s characteristic exploratory vision that is balanced by his trademark paradoxical accessibility.  Gradwohl succeeds where many others have only tried with his vision of what he calls “electric jazz”.  This album is truly a savory delicacy for the jazz connoisseur.  Repeated exposure to Threeo has only served to prove that this album’s sophistication is of the type that grows more happily on the listener with each successive listening.  The tacticianry of the arrangements and selection of musical phrasings is dumbfounding.  The technicianry with which it is implemented is jaw-dropping.  Gradwohl’s repertoire of jazz vocabulary on this effort is stifeling.  And, the rhythm section comprised of Wograndl and Filz are right there with Gradwohl in flawless complimentary support, regardless of the time signature (which many are explored).

The album opens with “Rick’s Tricks”, a track that features Rick Margitea’s fancy sax work set to a Hendersonian chordal tapestry (backdrop) with an inclination towards abstraction that is articulated by the trio.  But, don’t be misled by this first track and don’t try to get a sense for the entire album from it, because though it is within the scope of coverage by the trio, the material that follows is diverse in nature and isn’t formed from any equation or mold.  “Oh, It’s Nice” follows in the jazz guitar trio extempore tradition with a sound similar to John Coltrane’s “Giant Steps”.  The third track, “Wherever I Go” marks a turning point in the album towards accessibility with some beautiful melodies set to a slower arrangement that features classy, rich harmonization that achieves an tenuous balance between intricacy and soulful appeal.  And, the soloing on this track really hits the mark and makes the arrangement work.  “Deep Inside” is next with a slow, acoustic-based jazz ballade that leans toward the tender side of emotions.  This piece is pleasantly reminiscent to me of Metheny / Haden’s Beyond The Missouri Sky.  The cadence picks up once more with “Good Idea” that can be characterized as upbeat, quickly moving, fluid jazz with a definite mainstream appeal featuring the tacful sax soloing of Margitea once again, as well as an inspired bass solo by Wograndl. This track seems to me to become destined to become a classic (at least in my collection!).  Well, I’m not going to try to describe the rest to leave some sort of surprise for the new listener, but it is all just incredible!

Gradwohl has knocked yet another disc out of my changer to make it into my driving rotation with Threeo! This is a truly amazing album that all guitarists should check outrecommended!!!… especially so if you like Scott . I still can’t believe I’ve never heard of him before… Highly Henderson or Mike Stern.

~ Christopher Ruel ~