Jazz Archives

Of all the fusion albums I own, there are three albums that really changed my opinion on the genre itself. The first was Bill Bruford's second album One of a Kind, which really opened my eyes to the zany and highly syncopated side of fusion. The second was Al Di Meola's Elegant Gypsy, which opened my eyes to the guitar-dominated fusion sound (and being a guitarist I could definitely see a new inspiration in my playing). And the third is this album, Jean Luc Ponty's 1977 album Enigmatic Ocean. His style of fusion ranges on a tight groove and some dynamic unison runs and motifs with the keyboard, guitar, and of course his signature violin (which utilizes a lot of different guitar effects on this album, such as wah and phasers). The lineup for this album couldn't have been any better, too, featuring guitarist extraordinaire Allan Holdsworth (who was on One of Kind, ironically). Future Zappa alumni Allan Zavod also gets a good go on this album (Ponty was himself a Zappa alumni so the connection to Zappa is extended a bit more) on the keyboards. And Daryl Stuermer (of future Genesis fame) gives a nice performance overall alongside Holdsworth on the guitar.
The album opens with a short but sweet Overture, which sort of sets the mood in a way to what the album would sound like. The Trans-Love Express starts off the journey with a fantastic bass performance from Ralph Armstrong (who is superb throughout the entire album). The tight groove in the rhythm section is further augmented by various runs and melody lines from Ponty and Holdsworth. Mirage begins with guitar arpeggios and some underlying mixed percussion (as well as well-timed bass harmonics). Ponty's violin utilizes a phased effect on this track and his budding experimentation with effects proves to be most effective. Zavod's keyboard solo make good use of the keyboard and has a sensational floating feel to it. The first of two suites on the album is the title track of Enigmatic Ocean (which is spread out over four parts), which clocks in at a bit over 12 minutes. It begins with an atmospheric keyboard laden introduction that turns into an arpeggio based keyboard motif. This song is also the first to feature some lead guitar work from Holdsworth, who exchanges licks with Ponty at many points of the song itself. Holdsworth's signature style of very noodly and fluid runs comes through with flying colors on this piece as well. It's a fantastic piece in the end, with every musician giving their best and coming through successfully as well.
Nostalgic Lady and the second suite The Struggle of the Turtle to the Sea round out the album with more fantastic instrumental performances. Nostalgic Lady has one of the most addictive bass lines I've ever heard, especially when put as a counter melody with the stellar unison guitar/violin work. It's probably my favorite non-suite track of the album and it really is a perfect blend of melody and cohesiveness. The Struggle of the Turtle to the Sea is the second suite of the album, this one running a bit over 13 minutes. It begins with a tight groove from the rhythm unit, an underlying unison guitar theme and a violin lead on top of it all. The second part opens with a brilliant piano motif from Allan Zavod and some superb guitar from Stuermer and Holdsworth. The song ends with a fantastic bass groove (man Armstrong can really play the bass). Armstrong puts on the distortion in the middle of the song and offers a solid bass solo. The song reaches a fantastic climax when from what I can grasp Stuermer gets a chance in the spotlight and offers up a mean guitar solo (you can actually tell it's Stuermer as he and Holdsworth have terribly different soloing styles). In the end, this piece finishes off the album in epic fashion and is one of best fusion pieces I've ever heard.
Overall, I'd rank Enigmatic Ocean amongst my top three fusion albums ever. Everything about this album is perfect, from the stellar overall mix and sound, to the fantastic musicianship (fantastic is actually an understatement). If you're looking for high energy and melodic fusion, then you'll find a lot to like about this album. If you're a fan of the violin, then this album also comes with a high recommendation. Actually, I'd recommend this album for anybody who is just getting into fusion and for those who are into fusion but don't know who Jean-Luc Ponty is. Masterliness. 5/5.

:::Review by Cygnus X-2:::

Jean Luc Ponty - Enigmatic Ocean (1977)

1. Overture 0:47
2. The Trans-Love Express 3:56
3. Mirage 4:51

4. Enigmatic Ocean 

Part I 2:20
Part II 3:35
Part III 3:43
Part IV 2:24
5. Nostalgic Lady 5:20
Bass [Fretless] - Ralphe Armstrong
Grand Piano - Jean-Luc Ponty

6. The Struggle Of The Turtle To The Sea
Part I 3:32
Part II 3:33
Part III 6:05

Credits
- Ralph Armstrong / Bass
- Steve Smith / Drums
- Allan Zavod / Clavinet, Piano (Electric), Synthesizer, Piano, Keyboards, Organ
- Ralphe Armstrong / Bass (Electric)
- Allan Holdsworth / Guitar, Guitar (Electric)
- Jean-Luc Ponty / Bells, Conductor, Main Performer, Producer, Piano, Orchestration, Keyboards, Violectra, Vocals, Violone
- Daryl Stuermer / Guitar, Guitar (Rhythm), Guitar (Electric)

Fusion: a union by or as if by melting as a merging of diverse, distinct, or separate elements into a unified whole.
It may seem strange to start a review with a definition of a dictionary of the word fusion, but I believe hat in the case of Imaginary Voyage it's essential, because this single album describes perfectly what the word fusion should really mean.
Ponty takes different influences (As we’ll see later) and blends them with his own unique personality, not to obtain a hybrid but to create a new and different sound without loosing his essence and distinctive touch, but yet with obvious references to the specific genres from which he takes the influences.
In other words, less talented songwriters mix sounds and genres randomly, a great composer like Ponty blends everything with delicacy to create a different conception of music with a very defined personality.
But lets go back to the album, Ponty changes the “Aurora” lineup, Patrice Rushen is replaced by Alan Zavod on keyboards and Norman Ferrington by Marc Craney on drums and percussion. In the case of the drums I feel no dramatic difference but I like much more Rushen’s more classical approach to piano than Zavod’s eclectic style, even when the second one is more versatile, but the quality doesn’t change because all the members are very talented including Stuermer and Fowler.
The first track “New Country” is an excellent fusion of Jazz and USA folk/Country, the interesting thing is that Jean-Luc creates the country sound with his violin and the rest of the band keeps playing in a jazzy style, specially the powerful rhythm section. At one point of the song Ponty uses the piccicato technique (playing the violin with the fingers instead of the bow) creating the illusion of a banjo sound, a perfect lesson of how two styles should be blended.
In the second song “The Gardens of Babylon” the band members change the role, violin, piano bass and keyboards play a clear jazz oriented song while Darryl Stuermer adds a wonderful touch of Flamenco or classical guitar, again a new lesson of how things must be done when you want to blend two absolutely different genres without creating a mess, wonderful track.
“Wandering on the Milky Way” is a violin solo where Jean-Luc allows himself to play with his favorite instrument using all the electronic devices in which he’s pioneer in order to create a spacey atmosphere, not my favorite track, but after the first two masterpieces the man is allowed to have some fun.
“Once Upon a Dream” is a classic Jazz/Fusion song where the violin and piano take the leading role while Marc Craney keeps a perfect timing with his drums, probably with a strongest bass would have sounded much better, again not in the level of the first two tracks but very good.
Now it’s time for some aggressive playing “Tarantula” is the perfect blending of Jazz with Rock, Ponty and Stuermer work perfectly together the rock oriented section while Fowler’s strong bass and that human metronome named Marc Craney keep the Jazzy atmosphere alive, but Zavod deserves a special mention because he keeps changing from one genre to the other supporting each duet when necessary. Another masterpiece.
Maybe some purist Progheads won’t be really satisfied because they would like something more Prog’ oriented, well the epic “Imaginary Voyage” gives them more than anybody could expect on a Fusion album. This epic is divided in 4 parts:
Part I is clearly oriented towards Symphonic Prog with some references to ELP, but again Ponty is too proud and talented to copy any band, he just plays with those influences with his own unique sound, even when this part sounds 100% Symphonic, there’s still alive some Jazzy sound, but very subtle to be obvious.
Part II is a return to Jazz and Ponty’s brilliant violin sections while the band perfectly supports him, specially Zavod who does an spectacular work with the keyboards.
Part III starts with a spacey atmosphere somehow reminiscent to Pink Floyd, but again the development leads the song towards Jazz/Fusion a territory where Jean-Luc Ponty is more comfortable even when some Psychedelic touches (Similar to Santana) are evident, without doubt the richest and my favorite part of this excellent epic.
If there was any genre not worked by Ponty in this album it’s Blues, but for the pleasure of those who like me love it, Jean Luc closes this album with “Imaginary Voyage” Pt IV mostly oriented toward Blues, with again an excellent work by Daryl Stuermer, this section of the epic also recapitulates atmospheres from the other three parts, a great closer.
A few hours ago I would have rated “Imaginary Voyage” under “Aurora”, but when writing this review gave a new listen to the album and now I can’t decide which is better.
Probably according to Jazz/Fusion standards “Aurora” is more consistent, but for most Progheads “Imaginary Voyage” is so rich in styles, influences and sounds that they would like it more. In my case it’s a very hard choice, both are essential.
So I have no other option than rate it with another 5 solid stars.

 

Recorded at Kendun Studios, Burbank California - July and August 1976
1990 CD Atlantic 19136