Sometimes
the recording industry just isn't fair. The music industry as a whole
can't reward all the players out there, especially in a world
inundated with pop music icons and images to sell music. But even in
the jazz field, guys like John Klemmer fall into that netherworld. The kind of sound he played in his heyday of the
1970's fusion boom was more technical, somber and prescribed to mood. Touch was one of those albums that defined his
brand as a saxophone player.
You
may have seen Klemmer's name in Steely Dan's Royal Scam,
playing his signature repeat scaled notes on Caves of Altamira,
a track whose theme was perfect for Klemmer's unique, entranced style of sax. John
Klemmer kind of fell off the face of the earth by the mid-1980's after a few chained solo efforts -- a
saxophone player different from the rest in that he plays a more
ethereal, mystical kind of sax instead of, say, Tom Scott, David
Sanborn or Wilton Felder funky sax. Klemmer made wonder with the
saxophone, unlike many musicians of the time just playing fusion,
Klemmer made soundscapes, all with the help of his own style but
also the echoplex, or a tape delay effect that helps convey that
mystical wonder of trailing of notes.
Touch
is a real chill kind of album, you're not going to be funkin' to this
like you might a Crusaders' recording or even the aforementioned Tom Scott & The L.A. Express. Perhaps this kind of jazz is more
definitively trippy err, mood jazz but more raw than the
commercialism fusion brought by way of disco and pop influences. Klemmer's Touch is a storybook with a glimmer of a far-off fantasy world
on tracks like Tone Row Weaver and the George Duke (er, “Deorge
Guke”) contribution on Waterwheels.
Touch
lured a slew of impressive fusion players behind-the-scenes: the pre-GRP Dave Grusin, a
still Crusadin' acoustic Larry Carlton, with whom also defined Steely
Dan's Royal Scam, though his playing is more serene here, less strung out. You've even got L.A. Express' John Guerin on drums, the always in-demand Harvey Mason,
too.
The
album's sound throughout is consistent, tranquil but interesting -- with a primer of Fender
Rhodes and solos (yes, a real treat for Rhodes fans) on each, Klemmer
almost exclusively on tenor sax, some flutes here and there, and
vocals kept right where they should be: brief. That last track Walk
With Me My Love And Dream, Klemmer drops the sax for one-man
instrumentation on layered flutes, rhodes and narration, which is hypnotic
lullaby of flutism.
Touch
may not have hit mainstream ears but was Klemmer's step-forward into his solo career long before slipping into oblivion after funk-fusion took a backseat to a
vastly electronic age of fusion by the 1980's. For my ears, I've not heard anything quite like Touch or for
that matter John Klemmer's free-form fusion (maybe Norihiko Hibino follows his work), which will take you to a far
away land.
DIGITAL VERDICT : 9.0 (A-)
NOTABLE
TRACKS: Tone Row Weaver, Body Pulse, Sleeping Eyes
COOL
TO HEAR: “Deorge Guke” George Duke, Larry Carlton and Dave
Grusin' guest spots
IT'S
LIKE: stepping into a storybook fantasy world from the foggy 70's
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