reviews Gerald Gradwohl - ABQ feat. Bob Berg, Gary Willis, Kirk Covington

I can strongly recommend buying and listening to Powergrade's guitarist, Gerald Gradwohl's new solo album "ABQ" on Universal Records. The album was recorded in the USA with Gradwohl's favourite rhythm section Gary Willis and Kirk Covington. Of great importance: this is saxophonist Bob Berg's last recording before he met his untimely death last year. If you know Powergrade's music, then you know Gerald is a most versatile guitarist. In some respects the music here is a continuation, beit as a in big step forward, from the Powergrade record. Whilst the last Powergrade album had some interesting takes of jazz rock fusion in its licks, tunes, etc - enough to make the album sound above the average, it wasn't going to set the world on fire (or at least my part of it). However, I have far fewer reservations here. Gerald Gradwohl sounds first class and not obviously derivative. He too is equal to his fellow musicians on "ABQ", not forgetting their are contributing in equal shares to something special. A special word or two is called about Bob Berg's contribution: he fits in perfectly with the mood of the album. If anything I particularly liked the relative lightness in his soloing, this in comparison from the handful of Berg albums I've heard in the last decade, both as lead and part of groups - more like the solo albums he recorded for Denon Record s in the late 80's. A very good swansong.

Richard Heath, Fusenet Newsgroup

Conversely to Oliver's Blog, I have some praise for Universal Record's Austrian branch. Gerald Gradwohl (guitar playing, leader of fusionists Powergrade) has just released his solo album "ABQ" through that label. Recorded in the USA about a year ago, Gradwohl was able to gether to him, his favourite rhythm section, Tribal Tech's Willis and Covington (excellent form here) and also for the majority of track the late Bob Berg guests as co-lead on alto and tenor sax. These, alas are the last recordings made by Bob Berg.
Musically this is an excursion through a broad range of jazz rock and straighter jazz guitar styles, but little is given away as clues for most fans to say what was lifted from whom. Berg's sax playing is lighter than heard recently; with the lightness there is a big suggestion of enjoyment I haven't heard on record since his Denon albums. Berg reminds here that he could still blast a soulful sax when called upon.
Austria is too often ignored as a European jazz centre, but along with the obvious maestro Joe Zawinul, a fair amount of guitar innovation has come from Alex Machacek, Conrad Schrenk (and the strange problem with Schrenk is him getting to release recordings once they are made), Martin Koller and Gerald Gradwohl over the last ten years.http://jazzwise.blogspot.com/, 23.10.2003

The last few years has seen the Tone Center Label delivering some supergroup projects that were high on notes, and low on substance, though some of the line-ups were all star wish lists for many fusion fans, sometimes the results of these 'get togethers' resulted in less than stellar recordings. They were intriguing for the idea, yet the lack of chemistry, or perhaps not paying enough attention to the details of composition creativity tended to make the songs suffer.

On the other hand, cds like this one, Gerald Gradwohl's - AB Q (not a Tone Center release), features the not so well known musicians, and reek of phenominal fusion smoke. Gradwohl, an Austrian guitarist, fits squarely into the hard fusion style, he has the depth of skill to rival

the likes of Henderson, Stern, Lagrene & Scofield. Meaning, he has a strong feel for jazz theory, and can improvise over difficult phrasings with a relaxed and benign touch. With all of his skill, he goes the extra distance to borrow two of Henderson's favorite playmates, drummer - Kirk Covington, and bassist - Gary Willis, both of Tribal Tech. Needless to say, this is a great display of structured and improvisation fusion, exactly what you would expect from such a listing of performers.
Interesting enough, the sessions were completed in studio after two days, and editing work would be completed shortly thereafter. This proves on thing to me, that with world class musicians, it doesn't take long for them to hit their parts. With this in mind, the music has a real live feel, overdubs were done, but in a subtle way, with hardly a hint of overproducing. Musically this fits squarely into the terrain that bands like Tribal Tech, Elektric Band, Vital Information, The Code, or Mr. Motaba would travel.
Also joining the trio is former Flim and the BB's saxman, Bob Berg, who adds flavor and savvy to the songs, sadly Bob passed away in a car accident two weeks after these sessions. If you haven't heard Bob Berg's sax playing, this cd has some steallar moments, but his discography is well worth searching through if you are fan of the greats like, Michael Brecker, Ernie Watts, Brandon Fields, etc.

www.proggnosis.com Oktober 2003

Austrian jazz guitarist, Gerald Gradwohl, Shanghai-ed the Tribal Tech rhythm section, including Kirk Covington and Gary Willis, for his 2003 fusion release that takes aim to set the record straight once and for all time that he can sling fusion with the best of them. Completing the roster with saxophonist extraordinaire, Bob Berg, Gradwohl was leaving nothing to chance with his all-star line up. The teaming of world class musicians has produced a spectacular fusion effort that spans a wide range of coverage from improvisational fusion approached from a straight-laced jazz angle to rip-roaring, exploratory fusion to Tribal funk fusion to traditional jazz with a modern spin-off to fusion-seasoned slow, sax jazz. Gradwold and company cover a lot of diverse territory on this effort with each uniquely-flavored arrangement forging into different styles of the binding fusion venue. The Tribal Tech element brings in some funked up motifs, rhythms, metres, and feel, while Berg's classy sax soloing stretches the stylistic boundaries towards soulful jazz, though Berg hits the funk groove right along with the tribal faction. Gradwohl's playing within these various fusion styles reveals the influence in his broad repertoire of many great jazz and fusion players such as Henderson, Stern, Corea, etc.
The ten track onslaught kicks off with "Pau Wau", a straight ahead fusion arrangement that gets the album cranked up into the funk gear with Gradwohl's grinding guitar riffs and Berg's contrapuntal funk lines. The quartet next tackles the jazz standard, "Giant Steps", with a distinctive rendition of this classic featuring the wholesome-toned chordal voicings of Gradwohl's guitar sounding out the main theme in a duet with Berg's ever-savvy saxophone. The two trade off leads on the track with some modern improvisational adjustments to the original, including one solo section that throws in a funk twist, that put the classic into a 21st century frame of reference. This refreshing interpretation of "Giant Steps" is one of the best I have heard because it brings the themes to life with the revitalized energy, feel, and projection that the quartet puts behind the effort while proving that the old standard still works well with some modernization. The aggressive funk track, "Albuquerque Road", follows with latitude given to Willis and Covington to indulge in some complex rhythms and metres that will stump the best time keepers. The CD takes a slight divertimento from the tight rhythms of the previous track into a less constricting, flowing feel on the next track, "Anthem". This arrangement is set to a loose progression with Gradwohl's sustained harmonies and themes layered with the keyboards and bass that are all independently working over Covington's

percussionry. The looseness of the rhythm and chord sections provides a free format for Berg and Gradwohl to explore their intensive soloing ideas.
The fifth track, "News On The Net", induces the listener thinking that the boys from Tribal Tech are pulling a coup on the group with another conspicuously tribal-influence funk arrangement, though it seems Gradwohl is willing to concede into this direction. Then, it becomes clear on the ensuing track "AW3" that the tribal funk has become the modus operendi as Willis goes off into a tribal-induced interlude with his wah-wah like stretch tremolo effects on the bass while Gradwohl's guitar pays homage to the off-centered harmonization style of Henderson with his stretch tremolo effects. (Off-centered harmonization meaning that the harmonies do not resolve on pure chromatic tones but use partial tones between the natural chromatic tones derived from string stretching, tremolo, and glissando techniques.)

Bob Berg grabs the reigns and rescues the effort from the Tribal Tech coup d'etat with his sax soloing on "Hornsong" that is set to a metro funk jazz arrangement. Gradwohl steps up for some aggressive funk guitar lead work to trade off with Berg on this track. Having usurped the directional control, Berg kicks it down a couple of gears for his slow jazz number, "Princess". This composition features Berg's dreamy sax lines played over Gradwohl's clean- toned, echo resonant chord progressions. Gradwohl joins in once again with his catty soloing that tactfully integrates some distinctive staccato and pizzicato type effects into his leadwork that are aggressive yet subdued with refinement. "Groove Chicken" lives up to its name as the quartet strikes a deal of atonement for the directional challenges by aiming for their common middle grounds of funk jazz blues where they all hit their respective grooves. It is interesting to see the stylistic differences of the four blend together on this blues arrangement that gives an easy baseline for each of them to explore in different directions that weave together in a harmonious manner. The final track, and perhaps the best on the album, if not only for sentimental reasons regarding Bob Berg, is a towering jazz blues track that features Berg's intimate voicing of warm, resonant themes on sax while Gradwohl accompanies with his soulful melodies that are articulated with carefully crafted tremolo effects. The track comes to a false stop at one point where Gradwohl starts in again, elevating the emotional level with an inspiring solo that deploys well-felt staccato, muting, and string stretching effects that lead into a crescendo of sweeping arpeggios. Then, just when the listener thinks the arrangement has reached a climax, Berg's soulful solo takes over, taking the emotional experience to a new plane of transcendence with his slightly bittersweet, spirited themes that leave the listener with a feeling of a happy, childhood Christmas morning. The profoundness of Berg's sax work on this track is only truly appreciated with the knowledge that this would be his last collaboration with Gradwohl.

On the scale of into it, I give this album a two thumbs up and very into it. For those of you fusion fans that haven't heard Gradwohl yet, you should take a listen to this CD. With support from giants of the fusion movement like Willis and Covington on board for this effort, you can't ignore Gradwohl any longer! He may not be as wildly outlandish as Henderson because he tends to keep one foot firmly planted in the sensibilities of conventional jazz to give his music a earthly-grounded center. But, make no mistake about it, Gradwohl can jump into and out off the stylistic changes like a true chameleon. Gradwohl has ventured further into exploratory fusion on this effort than on any of his previous efforts. Having the support and backing of the Tribal Tech rhythm section has really made this venture for Gradwohl into tribal funk fusion a viable effort of world class caliber. (... if they really could be called "backing" because I don't think they are content to stay there and I doubt they see it that way, as themselves being "backing", as may in reality be the case because this effort is more like a well-balanced quartet with each member keeping their own...)

So, in summarizing Gradwohl's latest CD, ABQ is funk... ABQ is progressive... and ABQ is most definitely FUSION! ... and of a very tribal variety!!!

On a parting note, the author wishes to pay his respects to the great jazz sax legend, Bob Berg, who recently died in 2003 in an accident. Berg's untimely death will leave a void among the fusion ranks that will be sorely felt by the many fans that loved his playing, and the great musicians that he collaborated, including Gradwohl on a number of different of his CDs. Berg's effort on this CD is testament to his monumental skills and artistic talents. It was a sad day that he died for all fans of music because a fountain of artistic talent was cut off prematurely and took from all of us the great music that lay ahead of Berg in his illustrious career that should have continued for decades to come.

www.chrisruel.com November 2003

2003 release. Guitarist Gerald Gradwohl is another innovative guitarist emerging from the European music scene with his own unique sound. This instrumental studio project was recorded in New Mexico with Bob Berg on sax, and the rhythm section from Tribal Tech, Gary Willis on bass, and Kirk Covington, on drums. This is pure and simple kick ass, cutting edge electric fusion, and deserves your immediate attention! Sadly this would be Bob Berg's last recording date as he died in an auto accident a month after this was recorded in December 2002, and the cd is dedicated to him. Gerald Gradwohl, guitar, percussion; Bob Berg, sax; Gary Willis, bass; and Kirk Covington, drums. Guest: Walter Chmela, organ-(one track). www.audiophileimports.com , Jänner 2004

Gerald Gradwohl-ABQ

Opening with 'Pau Wau', this is fusion with a capital F and for best effect should be played of maximum Volume to get where Gradwohl is coming from. Subtlety is not in his, or the band's lexicon; energy and power is - so let's go for it. Gary Willis and Kirk Covington, from Tribal Tech, lay down a back beat to end all back beats for the Austrian guitarist's rock approach to fusion which opens up new possibilities in a music that had largely been commandeered by the slick and vacuous. Full of power chords, in yer-face drumming and finger busting bass riffs, there is an energy about this album hat lifts it out of the run-of-the mill. Gradwohl began his musical career es a rocker, and it shows, His predilection for what he calls 'jazz-rock' translates into his putting more rock than jazz into the mix, while the late Bob Berg on saxophones, recorded two weeks before his intimely death, is jazz rather than rock. On numbers 1ike 'Albuquerque Road' or 'Groove Chicken' the band blast oft. Problem is they play all their cards of once, leaving little to pick over on repeated hearings, but that has never been the intention of rock,which trades on instant thrills (nothing wrong with that, I'm up for that too) is where this music comes from.

Stuart Nicholson, Jazzwise, February, 2004