Odyssey the Band - Back in Time (Pi Recordings, 2005) In the early 1980's, James "Blood" Ulmer released a trio album called Odyssey on the Columbia label in the company of a violinist and a drummer. Now, nearly twenty-five years later, Ulmer has reunited with the band under the Odyssey banner. The music is that of a collective band with no instrumental leader, all trying to flow together toward a common cause.

Ulmer breaks out some vocals, sounding like he's trying to channel Clark Terry's "Mumbles" character on "Little Red House" as he sings funky and naughty about taking his lady back to said abode.
The band brings some angular funk on "Open Door," with a nice violin solo and some good group interplay. "Water Tree" gets pretty funky as well with a swinging violin solo.

Things can get a little subdued at times, like on the ballad "Love Nest" where the music meanders without taking shape. While this album is an interesting departure for Ulmer, whose last several projects have been strictly blues related, the studio environment seems to constrict the group and deaden the sound, although I bet this group would sound spectacular live - let's hope Pi keeps that in mind for a future project.
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Chick Corea's new album is another soundtrack to a work of fiction by the Scientology guru L. Ron Hubbard, as was last years Electric Band project To The Stars. Where that album constituted Corea's look at present day jazz fusion, this album looks back to his days as leader of the 1970's fusion band Return to Forever, using much of that old band's same instrumental makeup, especially in the prevalence of flutes and electric keyboards, which gives the music a light and airy sound.

There are many short compositions on this CD which blend together in suite-like formation.
"El Stephene, Pt. 1" has a slinky groove, multi-tracking Fender Rhodes electric piano with synthesizers and opening up for a nice flute interlude.

"Flight From Karoof" has an arrangement of flutes and keyboard with Latin hand percussion and a nice acoustic piano section woven in, while "King and Queen" keeps the spacious dynamics of the music with a flute solo set against percussion. There is a Middle Eastern feel to some of the music as well, particularly in "North Africa" where cool hand percussion underpins shimmering electric piano and flute, and there are even some funky moments as well, like when the electric bass and groovy electric piano which bubble up on "Moseb the Executioner."
While this is a very "pretty" album, the music presented here does have a strong retro-70's vibe to it and in all honesty sounds a little dated despite the efforts of the clearly talented musicians involved.

Since Chick Corea seems interested in revisiting his past, hopefully his next project will offer something a little more challenging. Perhaps another album by the wonderful Origin ensemble of the mid-90's? Or even a re-formed Circle with Dave Holland and Anthony Braxton?

Stay tuned.

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Frisell's best moments came on a number that started out like 'The Yellow Rose of Texas.' Here the pace was brisk, and Frisell took to it gratefully, releasing high-speed lines as in the days of Johnny Griffin a half-century ago, but with a kind of sneer, an attitude that was patronizing in a friendly, admiring way.

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One of the members of a favorite band is profiled in the Times for all the wrong reasons : "Pete Doherty, once the great hope of British rock, has outdone himself. He was arrested three times in one day.

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