Eric Kloss - Sweet Connections (1979)

Eric Kloss is one of many artists recorded live at E.J.'s in Atlanta before it ceased operations in 1982. Unlike typical guest artists performing there, Kloss doesn't simply play with a local house band; he is joined throughout both dates by pianist Gil Goldstein, with bassist Steve Tisher and drummer Terry Silverlight added on the last three selections. Kloss, who abruptly seemed to have ceased performing and recording without explanation during the 1980s, is in great form on these 1979 live sets. The duo leads off with "Sweet Connections," a furious original credited to both men. The saxophonist's lush ballads "Wrapped in a Cloud" and "The Sands of Time" are followed by a fairly straightforward interpretation of rocker James Taylor's "Places in My Past." Goldstein shows off a bit in a rollicking duet of the standard "Love Is Here to Stay," with Kloss adding a bit of a wry solo. Like other recordings made at E.J.'s and issued on its equally defunct namesake label, the piano sounds a bit muddy and distant, making one wonder if the musicians realized they were being recorded, though this rare opportunity to hear Eric Kloss in a live setting late in his career overcomes any sonic shortcomings. ~ by Ken Dryden, AMG.

Live At EJ's, JLR 103.501, 1998
Recorded 19^th & 20^th December, 1979 Live At E.J.'s Night Club, Atlanta, Georgia 

Musicians:
Eric Kloss - Alto Sax (#1-9), Tenor Sax (#7-9)
Gil Goldstein - Piano
Steve Tisher - Bass (#7-9)
Terry Silverlight - Drums (#7-9) 

Tracks:
1. Sweet Connections {Eric Kloss, Gil Goldstein} (5:04)
2. Wrapped In A Cloud {Eric Kloss} (7:27)
3. The Sands Of Time {Eric Kloss} (7:20)
4. Places In My Past {James Taylor} (5:40)
5. Irish Fantasy - The Ballad Of Charlotte McGhee {Eric Kloss} (10:51)
6. Love Is Here To Stay {George & Ira Gershwin} (5:53)
7. Days Of Wine And Roses {Henry Mancini, Johnny Mercer} (5:41)
8. Gil's Tune {Gil Goldstein} (8:42)
9. The Seasons {Gil Goldstein} (9:25) 

Total Time: 66:03

Credits:
Design [Cover] - Studio Eric Wondergem BNO
Photography [Cover] - Arsis
Liner Notes - William Hogeland

Eric Kloss - Consciousness! (1970) [re-rip]

Consciousness! is the tenth album by saxophonist Eric Kloss which was recorded in January 1970 and released on the Prestige label. The album sounds a lot more intense than To Hear Is To See! mainly because Pat Martino, who joins the band on guitar, is an fiery presence. A great album from Eric that again teams him with the Miles Davis rhythm section of the late 60's early 70's in addition Pat Martino, who was also entering much freer side to his playing. Overall, the LP is a showcase of soulful electric and funkier grooves a lot different to Kloss' earlier albums and his less tight formations in later years. All tunes are extensive with fine versions of "Sunshine Superman" and "Songs To Aging Children", plus the pieces "Consciousness" and "Outward Wisdom", highly recommended!

Prestige Records, PRST 7793, 1970

Recorded 6^th January, 1970 At RCA Recording Studios, New York City

Personnel:

Eric Kloss - Alto (#A1,B2, B3), Tenor (#A2,B1) Saxophones

Pat Martino - 6 String (#A2,B2), 12 String (#A1,B1,B3) Guitars

Chick Corea - Piano (#A2,B2), Electric Piano (#A1,B1,B3)

Dave Holland - Bass, Electric Bass

Jack DeJohnette - Drums

Tracks:

A1. Sunshine Superman {Donovan Philips Leitch} (10:36)

A2. Kay {Eric Kloss} (10:01)

B1. Outward Wisdom {Pat Martino} (6:05)

B2. Songs To Aging Children {Joni Mitchell} (6:59)

B3. Consciousness {Eric Kloss, Danny DePaola} (8:38)

Total Time: 42:19

Credits:

Producer, Design, Photo - Don Schlitten

Engineer - Paul Goodman (RCA)

Liner Notes - Greg Hall (June 1970)

Eric Kloss - In The Land Of The Giants (1969) [vinyl]

This set from 1969, finds the emerging Kloss in full flight, whether the setting is post-bop or modal, standard or balladic. At this juncture, Kloss shows maturity, outstanding technical chops and depth while the now famous supporting cast were obviously motivated and geared up for this session. The personnel here consists of Kloss; Alto Sax, Booker Ervin; Tenor Sax; Jaki Byard; Piano; Alan Dawson; Drums and Richard Davis; Bass. Highlights are, an absolutely stunning, up-tempo version of Miles Davis’ “So What” featuring the towering and vigorous tenor saxophone work of the late Booker Ervin. Here, Kloss and Ervin take turns reaching for the stars via soaring and electrifying lead soloing!........Not a cutting contest yet these esteemed gentlemen perform with conviction as if they were possessed by spirits... Kloss' sweet alto sax tone and sumptuous phrasing is evident on "When Two Lovers Touch". On the Ellington classic, "Things Ain't What They Used To Be" Kloss' expressionism and emotive lyricism displays mature sensibilities and expertise for such a young lad. ~ by Glenn Astarita.

Prestige Records, PRST 7627, 1989

Recorded 2^nd January, 1969 in New York City

Musicians:

Eric Kloss - Alto Saxophone

Booker Ervin - Tenor Saxophone

Jaki Byard - Piano

Richard Davis - Bass

Alan Dawson - Drums

Tracks:

A1. Summertime {George Gershwin, Ira Gershwin, DuBose Heyward} (7:30)

A2. So What {Miles Davis} (11:00)

B1. Sock It To Me Socrates {Eric Kloss} (5:17)

B2. When Two Lovers Touch {Eric Kloss} (5:34)

B3. Things Ain't What They Used To Be {Duke Ellington, Ted Persons} (5:48)

Total Time: 35:09

Credits:

Producer, Design - Don Schlitten

Recording Engineer - Dave Jones

Notes - Don Lass (May 1969)

Eric Kloss - To Hear Is To See! (1969) [re-rip]

Here we have another fine album from Eric Kloss. This LP like its follow up album ‘Consciousness!’ features the magnificent Chick Corea, Dave Holland  & Jack DeJohnette ‘Rhythm  Section’ without Pat Martino. Eric sets a newer tone to his earlier Prestige albums. This one clearly showcases his skills and ability to evolve into a more post bop freer jazz style. Well Recommended!

Moody bit of electric stuff recorded by Eric Kloss with the Miles' (then) rhythm section of Chick Corea, Dave Holland, and Jack DeJohnette. The groove is very open ended, as you'd expect from these guys at the time, but Kloss is right in the pocket with his sharp solos on alto and tenor. Tracks include "To Hear Is To See", "Stone Groove", and "Cynara". A tough one to find, and one of Kloss' best records! © Dusty Groove, Inc.

Prestige Records, PRST 7689, 1969

Recorded 22^nd July, 1969 in New York City

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Chick Corea - Piano, Electric Piano

Dave Holland - Bass

Jack DeJohnette - Drums

Tracks:

A1. To Hear Is To See (5:19)

A2. The Kingdom Within (6:00)

A3. Stone Groove (6:57)

B1. Children Of The Morning (8:28)

B2. Cynara (9:36)

All Compositions by Eric Kloss

Credits:

Producer, Design, Photo - Don Schlitten

Recording - Danfort Griffiths

Liner Notes - Michael Cuscuna (October, 1969)

Eric Kloss - Introducing Eric Kloss (1965) [re-rip]

Eric Kloss' great first jazz outing, recorded back when he was a teenage virtuoso attending the Western Pennsylvania School for Blind Children. Recorded with Don Patterson's trio, with Pat Martino on guitar, and very (and surprisingly) groovy all the way through. The tracks are mostly standards, but Kloss plays with a lot of imagination and fire, and really wails along with Patterson's organ. © Dusty Groove, Inc.

And what an introduction. The 16-year-old Eric Kloss joins forces with organist Don Patterson in what is a top-flight date for both of them. Patterson always had premier players with him who were attuned to his unique blend of hard-bopping soul jazz. In his debut recording, Kloss is equal to any of them. Regular Patterson collaborators -- guitarist Pat Martino and drummer Billy James -- are also on board. Martino is superb in his rhythm and solo work, his extraordinary technique and natural way with the blues always a sure bet on a Don Patterson date. Similarly, James' progressive style and command of the blues are key to this group's sound. The titular star sticks to his tenor, except for a modern, swinging treatment of "Embraceable You," where he switches to alto. Kloss favors the higher end of the tenor's register, plays with little or no vibrato, and makes little use of the tenor's trademark honks and barks. Although he is not unorthodox in his approach, Kloss, while still a teenager, does not sound overtly like anyone else, except, perhaps, for an inevitable John Coltrane influence. For this session, the program comprises standards, originals, and blues, including a version of Miles Davis's "All Blues," which gets a slightly more low-down treatment than usual, without sacrificing the tune's innate sophistication and cool. Kloss went on to record many fine sessions in the ensuing years, including dates with members of the rhythm section on Miles Davis' Bitches Brew, but since the early '80s, he has been absent from the jazz scene. When he arrived with this introduction, though, Kloss combined with the others in this quartet to produce a hard bop, organ jazz session that stands with the best. ~ by Jim Todd.

Prestige Records, PR 7442, 1965

Recorded 1^st September, 1965 At Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Don Patterson - Organ

Pat Martino - Guitar

Billy James - Drums

Tracks:

A1. Close Your Eyes {Bernice Petkere} (6:51)

A2. Old Folks {Dedette Lee Hill, Willard Robison} (5:47)

A3. 'S 'Bout Time {Don Patterson} (8:09)

B1. That's The Way It Is {Jimmy Giuffre, Eric Kloss} (5:29)

B2. All Blues {Miles Davis} (5:42)

B3. Embraceable You {George Gershwin, Ira Gershwin} (4:31)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy van Gelder
Design, Photo - Don Schlitten
Liner Notes - Jack Yard (Nov. 1965)

Eric Kloss - Life Force (1967) [vinyl>flac]

Much of this music is unconventional, avant-garde by the standards of anyone reared in the structural tradition of 12-bar blues, 16- and 32-bar pop standards, and infinite variations thereon. Here, other structures and idioms are freely borrowed and explored, and the listener can never be sure what avenue the boys will ramble down next. But experiment, free experiment, has ever been the soul of jazz (as of the Life Force itself, according to its admirers). At 18, Eric Kloss is a worthy representative of both conceptions, and a welcome newcomer to the ranks of those select pros who can usually be counted on for something fresh and exciting in almost any vein they choose. ~ Extract from Liner Notes by Ralph Berton.

Prestige Records, PRST 7535, 1968

Recorded 18^th September, 1967

Musicians:

Eric Kloss - Alto Sax (#A2,B1,B3), Tenor Sax (#A1,A3,B2)

Jimmy Owens - Trumpet, Flugelhorn (except #B1)

Pat Martino - Guitar

Ben Tucker - Bass

Alan Dawson - Drums

Tracks:

A1. Soul Daddy {Charles Austin} (3:55)

A2. You're Turning My Dreams Around {Eric Kloss} (4:54)

A3. Life Force {Eric Kloss} (11:23)

B1. Nocturno {Bud Shank} (6:37)

B2. St. Thomas {Sonny Rollins} (5:23)

B3. My Heart Is In The Highlands {Eric Kloss} (8:28)

Credits:

Producer - Don Schlitten

Recording Engineer - Richard Alderson

Design - Don Schlitten

Artwork - Irving Riggs

Liner Notes - Ralph Berton (Jan. 1968)

Eric Kloss - We're Goin' Up (1968) [re-rip]

‘We're Goin' Up’ is the sixth album by saxophonist Eric Kloss which was recorded in 1968 and released on the Prestige label. ~ Wiki

The album finds the 18 year old Kloss in serious company with Jimmy Owens on trumpet, Kenny Barron on piano, Bob Cranshaw on bass and the great Alan Dawson on drums. The music is stunning post-bop. ~ KingCake

Personally, I just love this LP. Eric playing is brilliant and as KC said clearly supported by equally marvellous players. Enjoy!

Prestige Records, PR 7565, 1968?

Recorded 22^nd December, 1967, New York City [Taken from Jazzdisco Discography]

Musicians:

Eric Kloss - Alto Saxophone

Jimmy Owens - Trumpet & Flugelhorn

Kenny Barron - Piano

Bob Cranshaw - Bass

Alan Dawson - Drums

Tracks:

1. Get The Money Bluze (2:28)

2. I Long To Belong To You (6:33)

3. Gentle Is My Lover (7:35)

4. We're Goin' Up (5:24)

5. Of Wine And You (5:53)

6. Blues Up Tight (5:48)

All Compositions by Eric Kloss

Credits:

Producer - Don Schlitten

Recording Engineer - Richard Alderson

Cover Design/Art - Irving Riggs

Eric Kloss - Essence [new 24/48 vinyl rip]

Even better than the last and in 24/48 Flac too!

 Eric Kloss - Essence
Muse 5038, 1974

A1 Love Will Take You There 15:38
A2 Affinity 8:57
B1 Essence 16:36
B2 Descent 3:40

Alto Saxophone, Tenor Saxophone – Eric Kloss
Bass – Buster Williams
Drums – Ron Krasinski

Piano, Electric Piano – Mickey Tucker
Trumpet – Marvin 'Hannibal' Peterson

 I have always really adored this one and personally I think the new rip sounds audibly better. Kloss plays tenor on side one, alto on side two. The more I examine Eric's work, the more I've come to believe that tenor was his strongest axe; his alto work is more Cannonball influenced and as such less original, while his tenor work seems to express his personal voice more convincingly. The rhythm section is exceptional, Buster and Mickey both shine. I remember that at the time, for me, the revelation of this album was Marvin 'Hannibal' Peterson who sparkles throughout this modal post-bop romp.

Richie Cole's Alto Madness (new Rips)

 Richie Cole – New York Afternoon
Muse 5119, 1976

A1 Dorothy's Den
A2 Waltz For A Rainy Be-Bop Evening
A3 Alto Madness
B1 New York Afternoon
B2 It's The Same Everywhere
B3 Stormy Weather (Trenton Style)
B4 You'll Always Be My Friend

Richie Cole alto sax, Eddie Jefferson vocals, Vic Juris guitar, Mickey Tucker piano, Rick Laird bass, Eddie Gladden drums, Ray Mantilla congas

 Richie Cole – Alto Madness
Muse  5155, 1978
Richie Cole : Alto saxophone, Eddie Jefferson : vocals, Eddie Gladden : drums, Harold Mabern : piano, Rick Laird : bass, Steve Gilmore : bass, Vic Juris : guitar, Ray Mantilla : percussion, Produced by Eddie Jefferson

A1 Cole's Nocturne 6:11
A2 The Price Is Right 7:13
A3 The Common Touch 2:23
Vocals – Eddie Jefferson
A4 Last Tango In Paris 4:40
B1 Island Breeze 5:20
B2 Big Bo's Paradise 5:29
B3 Remember Your Day Off 5:15
B4 Moody's Mood '78 2:59

Eric Kloss - Doors/Now (1972/1978) [vinyl>flac]

New Links now available

Doors
Originally on Cobblestone this has been issued on a now out of print Japanese CD. However this is from the Muse LP.

Dusty Groove review:
"One of the grooviest Eric Kloss albums from the Muse years – thanks to some great keyboards from Neal Creque! Creque's presence always makes any date sparkle – and here, he brings a bit of a funky sound to the record – sliding in nicely behind Kloss on the solos, but also pushing the overall groove of the set with his rhythms."

01 - Doors
02 - Waves
03 - Quasar
04 - Sweatin' It
05 - Love
06 - Libra

Eric Kloss (as,ts) Neal Creque (kybds) Gene Taylor (b,el-b) Ron Krasinski (d,tamb)
NYC. January 1, 1972

Now
After a fine series of albums for Prestige and Muse, another who then disappeared from view. I think this is much better than Scottie's lukewarm review, as KingCake has remarked 'this grows on you'.

"Tenor/altoist Eric Kloss recorded often from 1965-1981 before disappearing from jazz. His sound was fairly original, he was technically skilled, and, even though his impact was fairly minor, he did record many worthwhile sessions, most of which are currently hard to find. On this LP, Kloss (joined by keyboardist Mike Nock, bassist Mike Richmond, and drummer Jimmy Madison) performs six of his originals, none of which caught on. The music is generally lyrical and the leader plays well, even if the rhythm section is fairly anonymous, but little all that memorable occurs."~AMG

01 - We Are Together
02 - Now
03 - Morning Song
04 - Hey, Hey, Whatta You Say
05 - Autumn Blue
06 - Booga Wooga Woman

Eric Kloss (as,ts) Mike Nock (kybds) Mike Richmond (b) Jimmy Madison (d) Efrain Toro (cowbell)
Van Gelder Studios, Englewood Cliffs, NJ. January 4&5, 1978

Eric Kloss - First Class Kloss - Grits And Gravy

 Two more from the Prestige years.

"First Class! collects two solid Eric Kloss albums from 1966 and 1967, the first titled Grits and Gravy, the latter First Class Kloss! Over the course of 16 pieces, however, saxophonist Kloss fronts three different groups: a quartet, quintet, and septet. While this never seems disjointed, it does occasionally feel like a best-of package, especially when the female vocal group joins in on pieces like "Slow Hot Wind." This is especially true on the first eight pieces from Grits and Gravy. Bizarre hodgepodges like the title track with its combination of background vocals, a large ensemble, and repetitive funky riffs remind one of a bad '60s movie soundtrack. These tracks are juxtaposed with incredibly edgy work by Kloss, pianist Jaki Byard, bassist Richard Davis, and drummer Alan Dawson. The intensity of "Softly, As in a Morning Sunrise" still sounds fresh 20 years after the fact, and the chemistry among the players is explosive. Luckily, the two bonus tracks, "When I Fall" and "Psychedelicatessen Rag," come from these sessions. Kloss is joined by trumpeter Jimmy Owens, pianist Cedar Walton, bassist Leroy Vinnegar, and drummer Dawson for the last half-dozen tracks, and the work here is uniformly excellent. "The Chasin' Game" and "African Cookbook" take advantage of the duel-horn lineup, and the quintet stretches both of these pieces out for seven minutes. While the overall effect of First Class! is a bit scattered, there's a great deal of excellent music on the disc that's sure to please the Kloss fan." AMG

Eric Kloss - One, Two, Free

This is very odd, the jpeg of my cover does not look like this at all, the strange apparent wear is only in the blogger upload! I'm baffled and it keeps doing it!

A quick word about our pal Grumpy - as someone whom has had his links deleted en-mass I can tell you it is quite a shock and no fun at all. Please give him a break and do not ask for restoral of any Hotfile links - it isn't going to happen any time soon.

"Pittsburgh native Eric Kloss (b. 1949) was one of the most distinctive, original voices to emerge on alto sax in the mid-60s. He was only 16 when the first of his eleven Prestige albums was released in 1965. These records featured the cream of the crop of New York musicians and the young Kloss more than held his own with heavyweights like Booker Ervin, Jaki Byard, Chick Corea, Cedar Walton, and most notably, guitarist Pat Martino.

Kloss switched to the Muse label in 1972 and debuted with this outstanding quartet recording, One, Two, Free ; which remains his finest achievement. In a group featuring Martino on guitar and Ron Thomas on electric piano as well as bassist Dave Holland and fellow Pittsburgher Ron Krasinski on drums, Kloss pushes and pulls his group to take chances that explore the outer edges of bop, fusion and even funky pop music.

The 18-minute, three-part title track is clearly influenced by Bitches Brew (on which bassist Holland also participated). But here, like on the surprisingly substantial funk of Carole King's "It Too Late," Kloss's arched sound and searing style move the ostinato vamp in a more avant-garde direction (the way Arthur Blythe later would). Martino gets a notable share of the solo spotlight and never ceases to amaze in his mixture of cool chordal comps and fleet runs up and down the fretboard.

Kloss's beautiful ballad, "Licea," guided by Dave Holland's moody, signature string work, is the jewel of this collection and probably deserves to be better known. Martino waxes lyrically before Kloss enters for a rueful countenance that's worth the price of admission. Even though there's 42 minutes of music here, one wishes creative interaction this good kept on going."

Songs:One, Two, Free Suite: Pt. 1, One, Two, Free; Pt. 2, Elegy; Pt. 3, The Wizard; It's Too Late; Licea.

Players:Eric Kloss: alto sax; Pat Martino: guitar; Ron Thomas: electric piano, tambourine; Dave Holland: bass, electric bass; Ron Krasinski: drums.

Eric Kloss - Love And All That Jazz (1966) [vinyl>flac]

Here’s Eric’s 2^nd LP I had tucked away, just as groundbreaking as the 1^st. The session on the 14^th with the “Groove” adds further scope to showcase Eric’s wonderful young talent.

------------------------------------

Great early Eric Kloss record, with a tight organ jazz feel, courtesy of Groove Holmes and Don Patterson. Kloss was totally tight at this point, and less given to the sort of sloppy experimentation that weakened him later. He's backed by two great tight organ jazz groups, and the feel is nice and loungey, but with a good modern edge. Tracks include "Gemini", "Just for Fun-k", and a great version of "Love for Sale". Nice cover too. © 1996-2011, Dusty Groove America, Inc.

This was Eric's second album so we are still talking about a 16 year old, just turning 17 by the second part (Don Patterson) of the sessions. Kloss plays with two different organ trios; on 'The Shadow of Your Smile' and Gemini he is with Richard 'Groove' Holmes, Gene Edwards on guitar and Grady Tate on drums, on the rest of the album the band is Don Patterson, Billy James and Vinny Corrao on guitar. Kloss is impressive on both alto and tenor saxes. Pretty classy soul jazz from a kid!

Prestige Records, PR 7469, 1966

Recorded 14th March (#A3,B3) &  11th April (#A1,A2,A4,B1,B2), 1966
at Rudy Van Gelder Studio, Englewood Cliffs, New Jersey

Personnel:

Eric Kloss - Alto & Tenor Saxophones

Richard "Groove" Holmes - Organ (#A3,B3)

Gene Edwards - Guitar (#A3,B3)

Grady Tate - Drums (#A3,B3)

Don Patterson - Organ (#A1,A2,A4,B1,B2)

Vinny Corrao - Guitar (#A1,A2,A4,B1,B2)

Billy James - Drums (#A1,A2,A4,B1,B2)

Track Listing:

A1. You'd Be So Nice To Come Home To {Cole Porter} (4:56)

A2. Just For Fun-k {Eric Kloss} (5:53)

A3. The Shadow Of Your Smile {Johnny Mandel, Paul Francis Webster} (3:04)

A4. No Blues {Miles Davis} (5:18)

B1. Love For Sale {Cole Porter} (7:38)

B2. I'm Glad There Is You {Jimmy Dorsey, Paul Mertz} (5:06)

B3. Gemini {Jimmy Heath} (6:07)

Credits:

Producer - Cal Lampley

Recording Engineer - Rudy Van Gelder

Eric Kloss and Barry Miles - Together

Well the clothes pretty much tell us when this one is from, eh? I sheepishly admit I had a shirt very much like that one Barry is wearing and I think my grandmother sent me a pair of those pants and that belt Eric is wearing when I first got out of college and started work. (ten to one the shoes match that belt!) Mine were powder blue and had an awful jacket, at least I can say I only wore them once for a Halloween get up. I'm betting Barry is wearing Earth Shoes or something similar.

Eric Kloss and Barry Miles - Together
Muse 5112, 1976

1. Relay
2. The Wise Woman
3. Together
4. Song for a Mountain
5. The Goddess, the Gypsy, the Light
6. Opus de Mulier
……
Eric Kloss: Alto saxophone+, Tenor saxophone
Barry Miles: Piano*, Electric piano**, Synthesizer

Recorded July 19 & 20, 1976
CI Recording, New York City

If the previous post was a little too deep into the Fusion groove for you then perhaps this one will sit better with you. All original duets and extremely pretty stuff. This one required a little more cleaning attention than the others but the results sound pretty good to me.

Eric Kloss - Bodies' Warmth

Eric Kloss - Bodies' Warmth
Muse 5077, 1975

1 Lady
2 Joni
3 Bodies' Warmth
4 Scarborough Fair
5 Mystique
6 Headin' Out

Eric Kloss - Sax ; Barry Miles - Keyboards; Vic Juris - Guitar; Harvie Swartz - Bass; Terry Silverlight - Drums

I can remember a time in my life when I though this was the hippest music I had ever heard. What a difference..... The album is still quite good (dare I use the phrase 'a seminal work of fusion?) but I have to admit it sounds dated at times and I always liked Barry Miles acoustic piano best even though he was one of the most interesting electric keyboard players ever.

This album should probably be titled 'Prodigies' as three quarters of the band were indeed prodigies in every sense of the word. Barry Miles was playing professional gigs with established stars like Woody Herman at 9 years old! He was a drummer then and still used his family name Silverlight (why in the world would you change THAT?) but later morphed into a pianist with blinding chops. His little brother Terry (some 15 years his junior if I remember right) took over the drumming in the family and he was a recorded pro at 12. Eric Kloss took until the ancient age of 15 or 16 to sign his first Prestige contract but he had been gigging professionally since 12 when he took the stage with Sonny Stitt! Miles may well have been the guy who first coined the term Fusion; he was composing, playing and writing about it at Princeton in 1964! Kind of puts him way up at the front of the curve ehh?

A little dated in places to be sure and why in the world they ever decided to play Scarborough Fair will be for others to figure out - surely there was SOME better Pop vehicle for sales. This was a frequent working band for Eric, unlike the other configurations featured on his Muse dates.