Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. A beautiful late 70s set from reedman Marion Brown – maybe not as all-out adventurous as some of his earliest material, but still filled with a strong sense of spirit and soul! The group here is a bit unusual – as Brown's alto is set up with the guitar of Brandon K Ross, bass of Jack Gregg, and drums of Steve McCraven – in a format that often has the ringing tones of Ross' guitar working nicely with the introspective tones of Brown's alto sax. Some tunes are spacious and have a sense of sonic exploration, others are a bit more swinging, with some unusual rhythmic inflections from the guitar – and McCraven's nicely open sensibilities on the drums. And while the whole thing maybe isn't as all-out avant, the shift is actually a nice one in showing some of Brown's more personal, spiritual currents too.
Jun Fukamachi was Japanese jazz-fusion composer, pianist and pioneering synthesizer player. Born May 21, 1946, died November 22, 2010. During the late 70s he played with The Brecker Brothers, Steve Gadd, David Sanborn etc.
Although progressive rock reached its commercial peak in the '70s, it certainly didn't disappear after the '70s. Progressive rock, after all these years, continues to be recorded, and this late 2010/early 2011 recording finds Pendragon still plugging away after 32 years. Pendragon have experienced some lineup changes along the way; the 21st century edition of the band heard on Passion unites two members of the original 1978 lineup (lead singer/guitarist Nick Barrett and bassist Peter Gee) with 1986 arrival Clive Nolan (keyboards) and 2008 arrival Scott Higham (drums). And stylistically, these prog veterans have definitely evolved; Pendragon still draw on old-school influences like Pink Floyd, Genesis, Jethro Tull, and King Crimson, but there are also post-'80s influences that range from Porcupine Tree to Radiohead…
Billy Bauer was an accomplished studio guitar player whose only studio date as a leader was this release, finally reissued as a part of the Verve Elite Edition limited edition CD series in 2000. Throughout the CD he is never overpowering, but a solid rhythmic player, whether essaying a gently swinging "Too Marvelous for Words" or a more sprightly "You'd Be So Nice to Come Home To." Bauer also wrote several originals for the date, including the easygoing bop vehicle "Lincoln Tunnel," the tender ballad "Night Cruise," and the unaccompanied "Blue Mist." Accompanying Bauer is bassist Milt Hinton, drummer Osie Johnson, and the obscure pianist Arnold Ackers. While this won't be an essential CD for every jazz fan, those who acquire it will not be disappointed.