On the strength of this CD, it's a mystery why
Ray Russell has been so severely under-recorded throughout his career. As part of an exploratory group of British musicians in the late '60s,
Russell released several acclaimed experimental jazz fusion albums, but he has made only a handful of recordings under his name since 1973, although he has always been in huge demand (for obvious reasons) as a session player. Unlike countryman and fellow guitarist
John McLaughlin, who connected with
Miles Davis, founded
the Mahavishnu Orchestra, and made a name for himself as a jazz fusion pioneer,
Russell has remained in the shadows, doing his session work, bringing a few of his projects to small labels, and playing with a number of high-quality but little-known British jazz-rock, fusion, and experimental bands. However,
Russell did make one influential contact in the 1980s, playing with legendary bandleader
Gil Evans' British band when
Evans toured Europe, and developing a personal friendship with
Evans over the years. This recording was put together as homage to
Evans ("Svengali" is a nickname given to
Evans by baritone saxophonist
Gerry Mulligan, the name of a 1972
Evans recording -- and an anagram for the name
Gil Evans).
Gil Evans' son
Miles Evans (named, of course, after
Miles Davis) even plays some blistering trumpet on the title track, sounding almost like he's channeling
Davis. Overall, the 11 pieces on this CD do not attempt to break new group stylistically; they are firmly in the jazz-funk/fusion tradition, with obvious nods to the great electric
Miles Davis bands. Several gorgeous ballads are perhaps more reminiscent of
Pat Metheny's oeuvre, while a solo drone piece, "Wailing Wall," has a strong element of Frippertronics (the ambient loop system and style developed by experimental guitarist
Robert Fripp). One very touching, personal piece,
Charles Mingus' "Goodbye Pork Pie Hat," has
Russell improvising over a solo Fender Rhodes piano track recorded by
Evans in 1983, which
Russell found recently while digging through his tape archives. Relating
Russell to "name" guitarists such as
Metheny,
Fripp, and the highly influential
McLaughlin in no way serves to reduce
Russell's stature as a musician. Rumor has it that
Russell also can (or could) shred with the weirdest and wildest, but this CD was not conceived as a post-
Hendrix display of monster chops. Nonetheless,
Russell's technical and creative facility is nothing short of jaw-dropping throughout. He twists notes up, down, and sideways, executes flawless, intricate runs, and displays an excruciatingly pure electric guitar tone that pierces the heart. He is also supported on this recording by very capable, longtime musician friends and associates, including drummers
Simon Phillips and
Gary Husband and bassist
Mo Foster, who serve to make the session much more than a guitar showcase. Truly an excellent recording. But please, somebody get
Russell in the studio again (and again) so that he can share more of his singular talents with the world. ~ Bill Tilland