JEAN-LUC PONTY
''MYSTICAL ADVENTURES''
1981
40:55
1 Mystical Adventures Part I 03:27
2 Mystical Adventures Part II 03:35
3 Mystical Adventures Part III 07:27
4 Mystical Adventures Part IV 00:43
5 Mystical Adventures Part V 05:03
6 Rhythms Of Hope 04:00
7 As (Stevie Wonder) 05:45
8 Final Truth Part I 04:52
9 Final Truth Part II 02:04
10 Jig 03:55
Paulinho Da Costa/Percussion
Jamie Glaser/Guitar
Stuart Graham/Overdubs
Ray Griffin/Drums
Randy Jackson/Bass Guitar
Jean-Luc Ponty/Arranger, Keyboards, Organ, Piano (Electric), Synthesizer, Violin, Vocals
Chris Rhyne/Fender Rhodes, Oberheim 8 Voice, Piano, Piano (Electric), Prophet 5, Synthesizer, Synthesizer Bass
REVIEW/AMG
by Dave Connolly
Mystical Adventures expands Jean-Luc Ponty's palette slightly with the introduction of part-time percussionist Paulinho Da Costa and the use of a vocoder on a couple of tracks. Otherwise, it's the same mixture of mildly intoxicating arpeggios and flights of fancy that you'd find in various amounts on any Ponty album from this period. The five-part suite "Mystical Adventures" is a softer sibling to the earlier "Imaginary Voyage," utilizing vaguely Spanish themes and occasionally ambient pairings of organ and synthesizer to create a work similar to Chick Corea's "Touchstone." While in the course of its 20 minutes some interesting ideas are explored on the first side of music, the real showstoppers are a cover of Stevie Wonder's "As" and the closing "Jig." These two songs are as engaging and fun as anything from Ponty's Atlantic output -- not coincidentally, they're two of the three songs that feature Da Costa, whose percussion complements Ponty's violin to create dual engines of propulsion. The return of guitarist Jamie Glaser has little audible effect on the music, though the addition of drummer Rayford Griffin (who would remain with Ponty for the rest of the decade) alongside bassist Randy Jackson results in one of the most muscular rhythm sections on any Ponty album. Beginning with A Taste for Passion, Ponty's fusion became smoother and softer, with fewer violin solos and more participation from the band. Mystical Adventures continues this trend, and can be regarded as somewhat more accessible than his earlier fusion albums, if less substantive. In a way, this record marks the end of an era for the electric violinist, his affair with the organ and electric piano blossoming into a full-time relationship with synthesizers on subsequent albums that allowed him to pursue a solo career in earnest.
BIOGRAPHY/AMG
by Richard S. Ginell
It has been a long, fascinating odyssey for Jean-Luc Ponty, who started out as a straight jazz violinist only to become a pioneer of the electric violin in jazz-rock in the '70s and an inspired manipulator of sequencers and synthesizers in the '80s. At first merely amplifying his violin in order to be heard, he switched over to electric violin and augmented it with devices that were associated with electric guitarists and keyboardists, like Echoplex machines, distortion boxes, phase shifters, and wah-wah pedals. Classically trained, with an unquenchable ability to swing when he wants to, and consumed by a passion for tight structures and repeating ostinatos, Ponty has been able to handle styles as diverse as swing, bop, free and modal jazz, jazz-rock, world music, and even country, mixing them up at will. Starting in 1977, he also pioneered the use of a five-string electric violin with a low C string. Undoubtedly, he rivals Stéphane Grappelli for the title of the most prominent and influential European jazz violinist.
Ponty's father -- the director of the school of music in Avranches and a violin teacher as well -- got Jean-Luc started on violin at the age of five, and his mother tutored him on piano. He left school at 13 in order to practice six hours a day in the hope of becoming a concert violinist. At 15, he was accepted into the Paris Conservatoire, ultimately winning the premier prix at age 17. He played with the Concerts Lamoureux Orchestra for three years, during which time, thanks to the influence of Grappelli and Stuff Smith, he became interested in jazz. Oddly enough, Ponty began playing jazz first on the clarinet and tenor sax, waiting until 1962 to apply it to the violin. After a hitch in the French Army (1962-1964), Ponty went completely over to the jazz camp, leading quartets and trios in Europe, recording with Grappelli, Smith, and Svend Asmussen on Violin Summit, and visiting the U.S. for the first time in 1967 at a Monterey Jazz Festival workshop. Enriching himself with diverse American experiences in 1969, Ponty recorded with Frank Zappa, joined the George Duke Trio, and upon his return to France, formed the free jazz Jean-Luc Ponty Experience (1970-1972) before settling in the U.S. and rejoining Zappa's Mothers of Invention. He toured and recorded with the Mahavishnu Orchestra in 1974-1975 and then set out on his own, compiling a long series of solo albums on Atlantic that pulled away from the more volcanic aspects of fusion toward a more lyrical, European, yet still exciting extension of Mahavishnu's idioms.
In 1983, after his records began to sound increasingly formulaic, Ponty switched gears and recharged his creative batteries on the synthesizer. Starting with the Individual Choice album, he began constructing attractive revolving patterns of electronic sounds with the help of sequencers, producing backdrops for his violin that were elegantly indebted to Europop influences. He took this direction with him when he signed with Columbia in 1987, but on 1991's Tchokola album Ponty was on the move again, throwing out the sequencers and recording with West African musicians who provided him with new ostinato patterns to play with. Ponty opened the 21st century with Life Enigma in 2001, following it with Live at Semper Opera that same year. A live Warsaw date from 1999 was released in 2004 as Jean-Luc Ponty in Concert. The Acatama Experience appeared in 2007.
WEBSITE
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''MYSTICAL ADVENTURES''
1981
40:55
1 Mystical Adventures Part I 03:27
2 Mystical Adventures Part II 03:35
3 Mystical Adventures Part III 07:27
4 Mystical Adventures Part IV 00:43
5 Mystical Adventures Part V 05:03
6 Rhythms Of Hope 04:00
7 As (Stevie Wonder) 05:45
8 Final Truth Part I 04:52
9 Final Truth Part II 02:04
10 Jig 03:55
Paulinho Da Costa/Percussion
Jamie Glaser/Guitar
Stuart Graham/Overdubs
Ray Griffin/Drums
Randy Jackson/Bass Guitar
Jean-Luc Ponty/Arranger, Keyboards, Organ, Piano (Electric), Synthesizer, Violin, Vocals
Chris Rhyne/Fender Rhodes, Oberheim 8 Voice, Piano, Piano (Electric), Prophet 5, Synthesizer, Synthesizer Bass
REVIEW/AMG
by Dave Connolly
Mystical Adventures expands Jean-Luc Ponty's palette slightly with the introduction of part-time percussionist Paulinho Da Costa and the use of a vocoder on a couple of tracks. Otherwise, it's the same mixture of mildly intoxicating arpeggios and flights of fancy that you'd find in various amounts on any Ponty album from this period. The five-part suite "Mystical Adventures" is a softer sibling to the earlier "Imaginary Voyage," utilizing vaguely Spanish themes and occasionally ambient pairings of organ and synthesizer to create a work similar to Chick Corea's "Touchstone." While in the course of its 20 minutes some interesting ideas are explored on the first side of music, the real showstoppers are a cover of Stevie Wonder's "As" and the closing "Jig." These two songs are as engaging and fun as anything from Ponty's Atlantic output -- not coincidentally, they're two of the three songs that feature Da Costa, whose percussion complements Ponty's violin to create dual engines of propulsion. The return of guitarist Jamie Glaser has little audible effect on the music, though the addition of drummer Rayford Griffin (who would remain with Ponty for the rest of the decade) alongside bassist Randy Jackson results in one of the most muscular rhythm sections on any Ponty album. Beginning with A Taste for Passion, Ponty's fusion became smoother and softer, with fewer violin solos and more participation from the band. Mystical Adventures continues this trend, and can be regarded as somewhat more accessible than his earlier fusion albums, if less substantive. In a way, this record marks the end of an era for the electric violinist, his affair with the organ and electric piano blossoming into a full-time relationship with synthesizers on subsequent albums that allowed him to pursue a solo career in earnest.
BIOGRAPHY/AMG
by Richard S. Ginell
It has been a long, fascinating odyssey for Jean-Luc Ponty, who started out as a straight jazz violinist only to become a pioneer of the electric violin in jazz-rock in the '70s and an inspired manipulator of sequencers and synthesizers in the '80s. At first merely amplifying his violin in order to be heard, he switched over to electric violin and augmented it with devices that were associated with electric guitarists and keyboardists, like Echoplex machines, distortion boxes, phase shifters, and wah-wah pedals. Classically trained, with an unquenchable ability to swing when he wants to, and consumed by a passion for tight structures and repeating ostinatos, Ponty has been able to handle styles as diverse as swing, bop, free and modal jazz, jazz-rock, world music, and even country, mixing them up at will. Starting in 1977, he also pioneered the use of a five-string electric violin with a low C string. Undoubtedly, he rivals Stéphane Grappelli for the title of the most prominent and influential European jazz violinist.
Ponty's father -- the director of the school of music in Avranches and a violin teacher as well -- got Jean-Luc started on violin at the age of five, and his mother tutored him on piano. He left school at 13 in order to practice six hours a day in the hope of becoming a concert violinist. At 15, he was accepted into the Paris Conservatoire, ultimately winning the premier prix at age 17. He played with the Concerts Lamoureux Orchestra for three years, during which time, thanks to the influence of Grappelli and Stuff Smith, he became interested in jazz. Oddly enough, Ponty began playing jazz first on the clarinet and tenor sax, waiting until 1962 to apply it to the violin. After a hitch in the French Army (1962-1964), Ponty went completely over to the jazz camp, leading quartets and trios in Europe, recording with Grappelli, Smith, and Svend Asmussen on Violin Summit, and visiting the U.S. for the first time in 1967 at a Monterey Jazz Festival workshop. Enriching himself with diverse American experiences in 1969, Ponty recorded with Frank Zappa, joined the George Duke Trio, and upon his return to France, formed the free jazz Jean-Luc Ponty Experience (1970-1972) before settling in the U.S. and rejoining Zappa's Mothers of Invention. He toured and recorded with the Mahavishnu Orchestra in 1974-1975 and then set out on his own, compiling a long series of solo albums on Atlantic that pulled away from the more volcanic aspects of fusion toward a more lyrical, European, yet still exciting extension of Mahavishnu's idioms.
In 1983, after his records began to sound increasingly formulaic, Ponty switched gears and recharged his creative batteries on the synthesizer. Starting with the Individual Choice album, he began constructing attractive revolving patterns of electronic sounds with the help of sequencers, producing backdrops for his violin that were elegantly indebted to Europop influences. He took this direction with him when he signed with Columbia in 1987, but on 1991's Tchokola album Ponty was on the move again, throwing out the sequencers and recording with West African musicians who provided him with new ostinato patterns to play with. Ponty opened the 21st century with Life Enigma in 2001, following it with Live at Semper Opera that same year. A live Warsaw date from 1999 was released in 2004 as Jean-Luc Ponty in Concert. The Acatama Experience appeared in 2007.
WEBSITE
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