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(90:22 2CD, MoonJune Records) Prolusion. Dedicated to the memory of drummer Tony Williams (hence its title), “Blues for Tony” is the first effort by the HOLDSWORTH/ PASQUA/ HOSLIP/ WACKERMAN project – at least it comes so officially. To me, however, it sounds like this is more of a Holdsworth and Pasqua outing, which merely has Jimmy Haslip and Chad Wackerman participating in it as musicians, than, say, a 100-percent quartet release. The fact is that only Allan and Alan ever played with the drummer (in the mid-‘70s, as members of Tony Williams’ New Lifetime), besides which nine of the eleven tracks on this album are their brainchildren, no matter that those have been composed in different years as well as – originally – with different purposes.
Disc 1 (52:18)
TRACK LIST: 1. Blues for Tony 11:05 2. The Fifth 8:58 3. It Must Be Jazz 8:38 4. Fred 10:01 5. Guitar Intro 3:35 6. Pud Wud 10:02 LINEUP: Allan Holdsworth – guitar Alan Pasqua – keyboards Jimmy Haslip – bass Chad Wackerman – drums
Analysis.
There are six tracks on Disc One, and I’ll begin with Guitar Intro, since this one more than just strongly differs from the others. Only featuring Holdsworth, it’s made up of slow, drawn-out guitar solos, whose richness in overtones brings to mind an idea that Allan deployed a reverberation unit when played them, though I’m also reminded a bit of his (famous, self-made) synth-axe while listening to this as well as some of the other pieces. The rest of the material here falls entirely into the jazz-fusion idiom and has a full-band sound nearly throughout. Nonetheless, I think it should be divided into two categories for the best effect – in terms of description, of course. The longest three compositions, the title track, Fred and Pud Wus (all exceeding 10 minutes in length), consist predominantly of driving up-tempo arrangements and are generally so diverse and intricate that no listener expecting inspiring, genuinely progressive workouts will be left empty-handed, for sure. Each of these abounds in fascinating solos by Holdsworth and Pasqua, both of whom exhibit some of the best performance I’ve heard from them in years. The keyboardist’s leads in particular display a variety and intensity that are quite rarely to be found in Allan Holdsworth’s albums (I’m acquainted with all five of those that feature Pasqua), and are akin to those by Chick Corea in mid-‘70s Return To Forever or ones by Don Airey in Colosseum Mk-II. Drummer Chad Wackerman and bassist Jimmy Haslip both also shine with mastery and inspiration, particularly the latter, who tirelessly weaves his own intricate patterns, those crossing the length and breadth of the leaders’ ones. Yes, this means that there are no unison soloing lines on either of the longer pieces (anywhere on this disc, actually), nor are there any other standard jazz tricks: comprehend? The remaining two tracks, The Fifth and It Must Be Jazz, are also semi-epic in length, but contain noticeably fewer keyboards-driven moves than the previously described three; both are basically slow-paced, having a sort of atmospheric quality to them. Nevertheless, it’s enough to lend an attentive ear to them to quickly realize that they are constantly evolving compositions also. Each refers to Allan Holdsworth’s solo work – only think “Atavachron” rather than “Metal Fatigue” (sorry if you have no idea of the difference between these creations). Most of the first Disc’s contents are amazingly interesting, and the CD comes across as one of the very best jazz-fusion recordings I’ve heard this as well as in the last year.
Disc 2 (38:04)
Conclusion.
While recorded live, the both discs have an excellent sound quality – audiophiles, please take a notice of this. What’s really significant in my view, however, is that this all-instrumental effort is full of inventive, passionate, truly progressive arrangements, and while performed by technical wizards, it is not yet a show of musical chops. I like the album even better than some of the classics from the heyday of the genre, e.g. Weather Report’s “I Sing the Body Electric” or “Hymn to the Seventh Galaxy” by Return To Forever, both of which contain compositions that are almost as heavily repetitive as traditional hard rock songs (such as the title track of the latter, for instance). So I heartily recommend it to all open-minded prog-heads, let alone fans of Jazz-Fusion.
VM=Vitaly Menshikov: May 15 & 16, 2010
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