b o b

I was really surprised to read Joe's negative reaction to this album. This disc was on my top 10 list of 1997 releases. It does have, as Joe pointed out, kind of a "light" sound to it (if you're expecting something along the lines of B.L.U.E. you'll be disappointed), but it's perfect for those times when you're looking for a break from the heavy-duty stuff. There isn't much in the way of flashy playing, but Bruford's jazzy drumming is tasteful throughout, and Towner's acoustic guitar and piano is wonderfully melodic. Those who are expecting the jazz-fusion of Bruford's other solo albums might be surprised to find music that sounds closer to the straightforward jazz of Towner's work with Oregon. Gomez gives a solid performance on bass, and does come to the foreground here and there, but for the most part it's Towner's work that really shines. Of course, since Bruford has top billing, it's not surprising that he gets one track that is just solo drums ("Some Other Time") and one that is basically an electronic drum piece with just enough keyboard and bass backing to create an eerie atmosphere ("Silent Pool"). The music is generally upbeat and "happy" sounding, other than "Pool" and the moody "Amethyst". Which makes me wonder why DGM picked the latter for the Sometimes God Smiles sampler - it's not a very representative track. Overall I think this is a great disc, and this is coming from someone who generally hates "light jazz" and elevator music. I loaned this disc to a friend of mine who's a big jazz fan (and who also hates "elevator jazz") and he ended up immediately buying his own copy. If you're a hard-core avant-prog-and-fusion-only kind of listener, then you may not like it. Otherwise, this is a jazz disc that even symphonic prog fans who usually avoid jazz could probably get into. review by Bob Eichler — undated —

j o e

Proponents will call this "mature," but I found this one to be as dull as dirt. A disappointment, especially coming from such a talented, more-than-capable and unlikely pairing of musicians. The entire time, I felt as if I was listening to a nondescript jazz radio station while waiting for the dentist. In fact, I'm really having a hard time thinking of what I can write about this one, or about the songs therein. It's left that little of an impression on me, and I've already listened to it more than a handful of times. Not prog, of course; very mellow jazz. Easy-going and safe. Your folks will dig it (even if you're already in your 40s). Al Gore would probably think of this as 'swell music.' Sorry, Bruf, wanted to like it! review by Joe McGlinchey — 6-8-00 —

j o e

On the surface, this album may seem an unlikely teaming. At the helm is the progressive rock-turned-jazz drumming giant Bill Bruford, getting together with multi-instrumentalist and ECM regular Ralph Towner, and also Bill Evans Trio alumnus Gomez. At its heart, though, it's just three guys who love jazz. My original review of this album is one of those sterling (and embarrassing) examples of writing about an album before its proper time. Oh well, it happens. In fact, it bugged me so much, I decided to go out and purchase this album again for reappraisal. So hopefully my review will be more balanced this time around. The music and performances of If Summer Had Its Ghosts are pretty mellow — still way too mellow for what I seek in jazz, alas. I called it 'easy going and safe' in my original review. While that may have been overly harsh, the laid back delicacy of Towner's 12-string guitar and piano, the rather slick quality of Gomez' bass sound, and Bruford's more restrained drumming (i.e., the hushed cymbal taps, rim clicks, brushwork) still summate to one of those 'mature' jazz albums that sends me running for cover, and one where the music pieces start blurring together before too long. However, I have gotten to know the material a bit better. I now easily recognize "Never the Same Way Once," which is actually a neat piece, but I prefer the Earthworks version of it. On "Some Other Time," Bruford dusts off an old drum solo from the Dave Brubeck Quartet's Joe Morello (i.e., "Far More Drums" from Time Further Out). Towner's "Now is the Next Time" presents the familiar showcase of Bruf wheeling out a marvelous drum solo over a repeated riff, and this is probably the album's heaviest moment. Unfortunately, the basic song itself is not all that interesting, and not helped by its choice of generic keyboard sound. If you are approaching this from the perspective of a progressive rock fan or one who likes Bruford's work when it has more of a rock bite to it, I'd definitely look elsewhere in Bruford's catalogue. However, if you became interested in Bruford's work primarily as a jazz fan, this might be the place to go; just make sure you can tolerate the lighter end of jazz. On the positive side, Bruford himself is extremely proud of this recording, and I can understand that. These are three veterans on their respective instruments, with a combined 100 years or so of professional music experience between them. I remember a movie where a mobster boss says, "I don't care who you get, as long as they're not complete muppets." Well, no complete muppets here, that's for sure. review by Joe McGlinchey — 1-3-06 —