Jean-Luc Ponty "Upon the Wings of Music" 1975***

It's unusual for me to present two violin-based jazz rock fusion LPs in succession - it's not like I have a lot of those in my collection - but here it is: French violinist Jean-Luc Ponty's 1975 solo LP Upon the Wings of Music (UTWOM) was the first of an exceptionally successful string of albums for the Atlantic label; at the time he was mostly known as a member of Mahavishnu Orchestra and as a star collaborator, both for experimental combo's like Frank Zappa's Mothers of Invention and pop stars like Elton John. I must admit I'm not usually a fan of instrumental music, but I find UTWOM to be very listenable thanks to the great musicianship involved: Ponty, of course, on classical and electric violin as well as synthesizers, but the rest of the band too - especially keyboardist Patrice Rushen and drummer Ndugu. As is often the case with jazz, compositions (all Ponty originals) are of secondary importance compared to performance, but anyway the ones that stand out for me are crammed on Side 1: it opens with the title track, featuring insistent drumming and funky bass. The synthesizers are quite upfront here, and there are some lovely keyboard arpeggios, but it's the violin solos that steal the show here. Follower "Question With No Answer" is a more mellow composition, as is "Now I Know". If the first track is closer to electronic music, second one to classical, and the third closer to the blues, to me the highlight is track number 4, the one closer to prog rock. "Polyfolk Dance" has by far the most memorable riffs as well as some tasty electric guitar and insanely fast violin passages. Side 2 is quite listenable, but - with the exception of closer "Fight For Life" - it offers less thrills. "Echoes Of The Future" is an interesting experiment: consisting solely of multiple violin overdubs, you'd expect it to sound like an orchestra but often you think you're hearing a percussive instrument or synthesizer. Generally the violin may be the dominant instrument in this album, but lovers of classical or folk strings won't find much to like here, as it's often distorted and laden with electronic effects. If, on the other hand, you're into jazz, funk, fusion, prog, and early electronic music, (or -ideally- a combination thereof), this LP should be right up your alley.

**** for Upon The Wings Of Music, Question With No Answer, Polyfolk Dance, Fight For Life 

*** for Now I Know, Waving Memories, Bowing Bowing

** for Echoes Of The Future

Wolf "Darryl Way's Wolf" 1973(rec) 1974(comp)****

This is one of those albums I buy on a whim: I had never heard of Wolf before - I mean, of course, the band, not the animal species that fairy tales scare children with. But the album cover caught my eye; also, I took the name of Darryl Way on the cover as a good sign. If it doesn't ring your bell, let me give you a hint: Curved Air, a prog/folk group that produced some great LPs -and even a couple of hits- in the 70s. Classicaly-trained violinist Darryl was the co-founder and prominent instrumentalist of that band until their first split due to "musical differences" in '73. Way immediately formed a new band called Wolf, recording with them 3 albums. This compilation contains selections from the first two, Canis Lupus and Saturation Point (both 1973). Canis Lupus (the scientific name for the common wolf) was the earliest of the two, represented here by 3 tracks."Cadenza", which closes side 1, is a dynamic instrumental featuring spacey moog and classical violin, as well as lengthy guitar and drums solos. "Go Down" opens side 2, and it's a gentle ballad with expressive vocals and classical guitar. The album closes with "McDonald's Lament", a beautiful piece with lyrical violin. The whole vibe is reminiscent of Italian prog, as well as the British Canterbury scene - not coincidentally, bassist/singer Dek Messecar later played in Caravan, while guitarist John Etheridge joined Soft Machine. Last but not least, Ian Mosley had a long and successful career drumming for Marillion. All very accomplished musicians, they are given even more room to shine on the follow-up Saturation Point, which goes further into a jazz rock fusion direction. Album opener "The Ache" is a dynamic instrumental propelled by great drumming and featuring an abundance of fiery violin and guitar solos. "Two Sisters" follows a harder path with hard rocking guitar/violin interplay that reminded me of the guitar/organ dueling between Blackmore and Jon Lord in Deep Purple. "Saturation Point" is more laid back and jazzy, with Mahavishnu-like guitar solos. Lastly, "Toy Symphony" is yet another instrumental with symphonic and jazz elements. Darryl's violin is here also very much in the foreground. All in all, this comp is easily worth 4*, provided -and that is a big must- you care for prog and jazz fusion. Otherwise, you'd be better served listening to Curved Air, where Darryl Way's virtuosity is contained within more conventional song structures, and where the wonderful vocals by Sonja Kristina often steal the show from the instrumentalists.

**** for Two Sisters, Candenza, Go Down, Saturation Point, McDonald's Lament

*** for The Ache, Toy Symphony

Flairck "Variaties op een Dame" 1978***

Virtually unknown outside of The Netherlands, Flairck must have been quite popular here in their prime - I'm judging by the amount of old LP's on sale in record fairs and in antique/ charity shops, the everpresent in Holland kringloopwinkels. The band's music is usually categorised as prog, though there's not even a hint of rock about it. It's all instrumental and played on acoustic guitars (Erik and Hans Visser), woodwind instruments (Peter Weekers) and violin (Judy Schomper). A fair description could be "chamber music with folk and world music elements". The latter are, for example, evident in the pan pipes of the gentle opener "Aoife". "Voorspel in Sofia"  is a fast number with gypsy swing guitars, classical violins and Jethro Tull-ish flute. "April 3rd" is a sleepy sitar tune, while "Oneven Wals" is a pastoral piece enlivened by the insertion of Celtic reels and jigs. The main attraction is, of course, the same-named "Variaties op een Dame" (Variations on a lady). It is a 21-minute suite with slow and fast passages through classical, folk and ethnic melodies. Without a doubt a display of superior compositional and instrumental skills. The album closes with the forgettable country-ish acoustic guitar of "Dubbelspel". I'm not really a fan of instrumental music but I enjoyed this album. It works great as background music - who knows? maybe it was conceived as a musical backdrop for intimate sensual contacts. The album title and cover are suggestive enough, as for a title like "Foreplay in Sofia", that goes beyond mere suggestion. Well, maybe that's the explanation for both its popularity in the 70's and why the 2nd hand stores are now all full of it: 40 years later, those former lovers have less use for it, so off it goes to the thrift store. Get it and let their loss be your gain - because all joking aside, it is a very good record!

**** for Aoife, Voorspel in Sofia, Variaties op een Dame 

*** for April 3rd, Oneven Wals, Dubbelspel