David Sancious and Tone – Transformation (The Speed Of Love)
1976 Epic Records PE 33939| Genre: Fusion, Jazz-rock, Progressive rock
If, like me, you thought that Incident on 57th Street and New York City Serenade were the high points of Bruce Springsteen’s early career, then you should probably give your attention to musical polymath and chameleon David Sancious. Sancious was keyboardist for the E. Street Band on their first two albums, and contributed to the title track of Born To Run. I think it would be a safe claim to say that his sensibility probably helped sculpt the “epic” sound they were crafting, particularly on the longer songs, but if you have The Boss too firmly in mind when putting on this record, you might be jarred by just how dissimilar it seems. I’ve always been a champion of things eclectic, but Sanscious might be too eclectic for his own good at times. With his virtuosity on multiple instruments taking front and center stage, it is hard not to marvel at least a little at the breadth of vision, but sometimes they straddle the grey area between stylistic transcendence and plain confusion. His debut record for Epic (Forest of Feelings, 1975) was produced by none other than legendary jazz-fusion drummer Billy Cobham, and at times the music comes close to holding its own with Return To Forever or Weather Report or Mahavishnu Orchestra, and at other times sounding a bit like a slightly funky Rush without the benefit of no horrible lyrics (everything here is instrumental).
A1 Piktor’s Metamorphosis 6:33
A2 Sky Church Hymn #9 8:49
A3 The Play And Display Of The Heart 6:27
B Transformation (The Speed Of Love) 18:07
Artwork – Anthony Tillman
Engineer – Allan Burnham, Tom Likes
Producer – Bruce Botnick, David Sancious
Written-By – D. Sancious
Recorded and mixed at Caribou ranch, Colorado, by Bruce Botnick 1975-10-24 – 1975-11-10 assisted by Jeff Guercio, Mark Guercio and Randall W. Blunt.
LINEAGE: Epic PE 33939 vinyl; Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge; Speedbox power supply; Creek Audio OBH-15; Audioquest King Cobra cables; M-Audio Audiophile 192 Soundcard ; Adobe Audition at 32-bit float 192khz; clicks and pops removed with Click Repair on very light settings, manually auditioning the output; further clicks removed with Adobe Audition 3.0; dithered and resampled using iZotope RX Advanced. Converted to FLAC in either Trader’s Little Helper or dBPoweramp. Tags done with Foobar 2000 and Tag and Rename.
For me the main thing that prevents Sancious & Tone from reaching the heights of the aforementioned fusion legends is Sancious’ insistent playing with himself… by which I mean his reliance on overdubs, obviously. While improvisation can often take a back seat with jet-fueled fusion in general, veering into a kind of steroidal anti-jazz, the space left open for improv is even more restricted when your group depends so much on one guy playing a crap-ton of instruments like David Sanscious. It is too bad they never made a live record and I am unaware of any circulating bootlegs (although to be perfectly honest, I haven’t really looked). Besides one more official album with Tone (and one which fell into the cracks of contractual disputes and wasn’t released until about a decade ago), David Sancious remained a very in-demand session player in jazz, rock, and pop music, playing with Jon Anderson, Peter Gabrield, Sting, Hall & Oates, Stanley Clarke (where he was part of a lineup that featured Billy Cobham), and he also had a working relationship with Narada Michael Walden during the 1980s.