Review Summary: Promising melodies sacrificed in favor of trendy pursuits.
All may be permissible, but not all is beneficial. In 1984, virtuoso violinist Jean-Luc Ponty chose to fully embrace the musical directions initially explored on
Mystical Adventures and
Individual Choice and integrate his signature brand of amati-powered jazz into the once-modern realm of synthesizers and sequencers. The resulting
Open Mind, with its meticulously-programmed rhythm computers and thumping synths, is a hit-or-miss mélange marked by excess, stiff momentum and a few small victories.
As with previous records, the French fusionist’s melodies are instantly engaging, whether they appear via violin, violectra or sequencer. Unfortunately, much of the music’s color, personality and depth feels narrowed in favor of pursuing crisp, urbane, atmospheric textures. Unlike previous efforts, the keyboard underpinnings often dip too far into New Age territory (“Solitude”). The complex bass fretting is usurped by a strutting, low-end synth (“Intuition”) and the percussion often feels gated or rigid. With no more than one or two supporting players, Ponty shoulders most of this performance and he seems to be so pre-occupied with organizing the electronics that his staple violin sound slips out of focus.
The result is a collection of melodies that plead for some sort of organic, human representation, something that feels almost nonexistent aside from a couple guest appearances. The stringed interplay between George Benson’s flavorful guitar and Ponty’s violin on “Modern Times Blues” is a definite highlight, along with the sprinting strings and knotty keyboard explorations of "Orbital Encounters". The moments where the plastic keys are tamed and Casey Schelierell’s tablas are given room to breathe on "Watching Birds" are also worth mentioning. Chick Corea’s two guest appearances (the title track, "Watching Birds”) border surprisingly on irritating, rather than meaningful.
Despite the forward-thinking title, the record is a product of its time. This wouldn’t necessarily be a poor quality if it was not so off-putting and nearly devoid of charm. The digital onslaught of video arcade synths and dated dance rhythms often stinks of pastel denim and big hair and lacks that stamp of timelessness. The experimental spirit is certainly present and should be applauded. However, the mindset guiding it seems trapped in a bygone era, unable to transcend the limitations and temptations of the latest gadgetry. Bold and confident,
Open Mind too frequently oversteps its bounds, proving this six-song assemblage to be a less-than-essential entry in Ponty’s consistently noteworthy catalog.
