Produced by Fred Weinberg and Dreams
While most of the early fusion had a huge focus on Hendrix-influenced electric guitars, and this does feature some noteworthy contributions from John Abercrombie, this is clearly an extension of Miles Davis, especially Miles’ then-recent live explorations of chasing down the truth and the voodoo, as this set focuses on driving rhythms, horns and spontaneity, the forward movement often working up to a semi-controlled frenzy perhaps best showcased as the 14+ minute “Dream Suite” progresses into a funky drive.
While Miles is an obvious influence, the influences of other innovative jazz pioneers of the 60s clearly show, including the ones who–like this outfit–offered vocals. And as one would expect from a fusion outfit, the influences appear to go beyond the world of jazz. For example, the influence of Sly Stone might have gone unnoticed, but considering the first cut (“Devil Lady”) and the fact that this outfit was formed in the late 60s and released this album in 1970, it’s easy to make that Sly Stone connection. It’s not that most of this sounds like Sly, but the influence is clearly there.
It’s also easy to hear how this outfit likely both influenced and was influenced by many artists of this era, by the horn-heavy rock groups of the late 60s as well as Frank Zappa and Tower of Power. And while this group doesn’t match the innovations and accomplishments of Miles Davis and Weather Report, the music on this album does appears to bridge Miles to the innovative fusion work of Weather Report.
The music is grounded in the compositions provided by keyboardist Jeff Kent and bassist Doug Lubahn, with Lubahn’s bass and Cobham’s drumming helping to both ground it and move it along, but this is a whole-group effort and more about exploration and spontaneous combustion than control, to provide as the liner notes point out, “a sort of organized jam.” The live-in-the-studio recording strategy certainly didn’t come out of nowhere, but this outfit helped establish this as an option and an example for musicians in the decades that followed. The musical explorations certainly serve as a bridge between some of the more innovative music of 1960s and for better or worse, the times to come.