Jean Luc+ponty

After a delay of nearly five years since the release (in 1996) of his final Atlantic CD, Live at Chene Park, Jean-Luc Ponty's debut for his JLP label proves to be a finely hewed masterpiece from the violinist's studio workshop. He plays many of the instruments himself (keyboards, electronic drums and percussion, and synclavier) through overdubbing on most of the tracks, although it's readily apparent that these new compositions will work in performance with the talented supporting cast of his touring band. Ponty goes it alone on the richly textured "Two Thousand-One Years Ago," and the mournful "Lonely Among All." This is easily one of Jean-Luc Ponty's most compelling releases.

When this CD came out, it was violinist Jean-Luc Ponty's strongest in several years. Most of the originals have dense ensembles full of rhythmic patterns set by the keyboards for Ponty to play over. With the exception of "Chopin Prelude No. 20" (a violin improvisation in which the violinist is backed by just Clara Ponty's sober chordal piano), this date falls into the funky fusion area. The enthusiastic high energy playing, colorful solos (Ponty is in splendid form) and catchy melodies make this a very worthwhile session; Grover Washington (on soprano) and keyboardist Patrice Rushen make guest appearances.

Legendary drummer Kenny Clarke compared Jean-Luc Ponty to Dizzy Gillespie. Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean-Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".

Stanley Clarke, Al Di Meola, Jean-Luc Ponty - The Rite Of Strings (1995)
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© 1995 I.R.S Records / Gai Saber | 7243 8 34167 2 1
Jazz / Post Bop / Fusion / Contemporary Jazz

Any time the likes of Stanley Clarke, Al DiMeola and Jean-Luc Ponty are assembled, there is a good chance the results are going to be impressive. Clarke and DiMeola had played together in the legendary Return to Forever, producing some of the most intense playing in all of fusion; Jean-Luc Ponty had also made several excellent, very diverse recordings. The chops of these three musicians are pretty much unsurpassed in the industry, which in itself makes Rite of Strings worthy of a listen. The real treat, however, is in the song selections. Three of DiMeola's more recent compositions are here, including the uplifting "Chilean Pipe Song." On this song, Clarke and Ponty's dual-bow sound provides a nice backdrop to DiMeola's introduction before DiMeola and Ponty state the melody together. Ponty has always been one of the more interesting violinists, mostly because he experiments with the instrument's tonal possibilities. His plucking introduction to "Renassaince" and the strumming on "Change of Life" are evidence of this. Clarke's finest moment comes on his own beautiful "Topanga," on which his bow playing is enough to evoke tears. This is a classic recording that should not be missed; the integrity, musicianship, compositions, and improvisations are all first-rate.

Aurora is full of state-of-the-art (for 1975) high-powered fusion that differs surprisingly little from the music that Jean-Luc Ponty has played throughout the '80s and '90s…

Consistently imaginative, Enigmatic Ocean is one of Jean-Luc Ponty's finest accomplishments. The French violinist recorded his share of fusion gems during the 1970s, and this album is at the top of the list. Often aggressive but sometimes reflective and moody, this CD is as unpredictable as it is adventurous. Ponty has plenty of room to stretch out, let loose, and blow, and electric guitarists Allan Holdsworth and Daryl Stuermer contribute some inspired solos as well. Also quite impressive is the insightful and passionate drumming of Steve Smith, who went on to lead the superb fusion band Vital Information. Ponty takes one risk after another, and all of them pay off beautifully.

Cosmic Messenger is more elegant, European-flavored jazz-rock from the French virtuoso Jean-Luc Ponty, and pretty much in the same mold as his previous Atlantic albums but with gradually tightening control over every parameter of performance. Ponty's analog-delay special effects on the title track are spectacular, and the album is loaded more than ever with revolving electronic arpeggios as Ponty's own involvement with the ARP synthesizer grows. But there is still plenty of his fluid, slippery electric violin soloing to be heard within the tight structures of these pieces, and the tunes themselves are often pretty good.