Customer Reviews

Free Fall

5 star:		(12)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Steve Morse (Guitar) and the stellar members of the Dixie Dregs, including longtime bandmates Rod Morgenstern (Drums) and T Lavitz (Keys) are simply the most incredible musicians this music addict has ever heard. Steve's genre-transcending compositions are the key, both modest (for the fun parts he shares with his bandmates rather than plays himself) to the most inspired, impressive and technically advanced guitar work by Maestro Morse himself. This music soars like no other I have ever heard. And I am a very hungry and eclectic listener. It is a must for every serious listener who appreciates fast-moving and complex instrumental music. Other faves are "Dregs of the Earth", "Unsung Heroes" and the Steve Morse Band's "Coast to Coast". There is not a single music offering led by Steve Morse that I do not own at least one copy of, and each one was worth far more than what I paid for it given the enjoyment each has provided. This is my favorite music - for over twenty years. Now my eight year old daughter is becoming a fan, and an accomplished musician herself.

Note: The first Dregs album "The Great Spectacular" (more like a demo) has songs re-recorded for Freefall and other albums.

This is my favorite Dixie Dregs album. The band sounds very tight, looking forward to show thier possibilities after years in endless music college and finally recording for a major label.

All the themes roll on in a free spirit mood, It doesn't have that peculiar feeling of great tension and emotional intensity you experience normally on fusion records of such bands from the same period as Return to Forever, Mahavishnu Orchestra, Eleventh House or Weather Report. Not that i don't enjoy it, on the contrary, I dig 70's jazz fusion a lot. But fusion is not for ocasional distracted listening. Maybe the southern rock influence does the difference. However, I believe that this is not their true essence, because when they jam hard like real jazz musicians (and only jazz musicians) can do, that's when I stare at my cd player and say "Now, we're talking!".

The music here is very cool, all the musicians performance is great without extrapolations, specially guitar and bass parts.

So, I guess it's a band for musicians, yes, just like a fusion band has to be, but it's also highly recomended for people who are searching for fine melodies and well structured instrumental tunes. Morse and his fellows show that you can be a virtuose on your instrument, having a great sense of melody and composition and do not sound like a speedfreak machine repeating licks after licks trying to reach the speed of light.

my favorite tunes are free fall, holiday, refried funky chicken.

Dixie Dregs are one of my alltime best artists. I agree to the other reviews. Almost any CD of them would get 5 stars. I choose this CD, because its their first (official) one, and already is perfect. Great musicians produce a perfect instrumental blend of a selection of the most accessable and uplifting styles, from classical touch, southern, jazz, rock, pop and much more. If you like mahavishnu orchestra, or anything which might be called fusion and mixes more than one musical style, here you find a mixture which will make you smile. For me, the featured styles are not important, and I don't care if I forgot to mention one, or got them wrong totally. They just play varied uplifting music which is very accessable and capturing. Every member adds incredible skill and taste, and every song adds to the impression this CD has while listening. All put together, this CD is much more than the sum of the songs. If I listen to this CD from start to finish, I just feel, that everything it maximized for pure joy of listening. And it works. If you want to even go further, you can check out their Live CDs where the loss of studio perfection is more than compensated by added fun (!) and power (!!). So don't be afraid, thinking it might be academic jazz training lessons, or your parents dino-music from 1970. Give it a try and see, if you enjoy it that much as I do.

This review is an excerpt from my unpublished novel, Double-take: A post-60's adventure. The passage describes the protagonist sneaking into his sister's bedroom while she's away and listening to her music. While the event is fictional, the character's review of Freefall is authentic.


When I was nine or ten years old, before CD's came to dominate the world of prerecorded music, I used to go into my sister's room when she wasn't home and listen to her cassette tapes. I had recently discovered MTV with the illicit aid of our regular baby-sitter; and, I was already quite interested in popular youth-oriented music. Addie didn't like me using her stereo system, so I had to do it secretly. Fortunately for me, I was proficient at leaving things exactly the way I found them, a component of the larger skill set called `getting away with things," this being a well-cultivated talent in which I have long taken pride.

One night Addie had sneaked out through her window, as was her habit on school nights. As I was looking to see what tapes she had on hand, I discovered a copy of Free Fall, the Dixie Dregs first album, in its original box. The cover art was amusing, a group of guys blissfully jumping out of an airplane without parachutes, as were the titles of tunes such as Hand Jig, Refried Funky Chicken, and Wages of weirdness.

I popped the cassette into the player right away and began listening through Addie's good headphones. The first tune, Freefall, commenced with a breezy set of chords, somewhere between jazzy and funky. An electric violin followed with a pleasant and interesting theme. Then, instead of a singer entering the picture, the tune flowed into another theme by the bass, which I considered a rather unconventional move. The song kept shifting around as it built up momentum, always in a smooth and logical manner, always introducing fresh elements and variations, a new guitar motif in a catchy R&B style with the violin soloing pizzicato, then the synthesizer taking the lead, next a fuzztone guitar solo, layers and layers of interwoven themes with all of the instruments engaged. It seemed like I was hearing some sort of overture, clean, tight, very listenable. When it ended almost five minutes later, I thought, `Those guys are good!'

The second cut, Holiday, came on with a bell-like guitar playing a theme that might have been written by Aaron Copeland. Again I noticed me ears feeling very pleasant. Somehow this tune segued into another memorable theme played by the lead guitar with yet another distinctive fuzz effect. Everything was played with a degree of precision and purposefulness different from anything I had heard from rock musicians. In particular, the lead guitarist used distortion purely as tone coloring (or orchestration, if you will), not to cover up for a lack of fine motor control or dexterity. For clearly there was no such lack. And the syncopation was positively invigorating. It seemed as if I were listening to classical music except that the elements of it were drawn from the world of American popular music, broadly defined. About two minutes in, the lead guitar, according to the liner notes played by someone named Steve Morse, took off on a solo that was extremely clean and melodic. Suddenly, this Morse fellow activated overdrive and his picking accelerated to double speed, still sounding just as lovely, still fully under control. Near the end, as the piece wound toward what felt like a musically inevitable fade-out, I realized that singing had still not made an appearance. A quick look back at the liner confirmed a growing suspicion- I hadn't heard any singing was because there was no vocalist! The entire Dixie Dregs LP consisted of instrumental music. Now I was beginning to get the picture.

The third piece, provocatively entitled Hand jig, began with a deceptively aggressive drum solo that quickly and abruptly resolved into a slow and deliberate, funky groove. After another eccentric transition led by the guitar, the electric violin came in on top of the rhythm section with sassy solo licks. This and the clever special effects noises inserted in strategic points created an ambience that sounded like the Friends of Distinction tripping on acid. But, as I was beginning to realize, this band was never content to settle into any one predictable groove- one surprising transition kept following another, always making perfect musical sense, always sounding delightful. Here was a bass solo by one Andy West using wah-wah played in a totally unusual manner, again like nothing I'd previously heard, this moving confidently into a George Martinesque passage over which I could almost hear John Lennon and Paul McCartney singing harmony. Then, on to a synthesized guitar solo that sounded like the notes were being sucked into a stereophonic vacuum (or maybe that's what was happening to my brain) followed by all the instruments scurrying around like children caught out of bed when the lights are turned on to get back to that funky groove like they're s'posed to so they can pull off an orderly ending. Which they did.

The fourth track, Moe down began with a drum corps and bagpipe effect, which was the introduction for a cute Irish hillbilly fiddle reel complete with banjo (by Steve Morse) which then went back and forth between two themes, laying the foundation for solos by various instruments- bass, piano, fiddle, piano, fiddle, piano... Finally, this progression resolved into a hauntingly bittersweet contemporary bluegrass melody on banjo and pedal steel guitar, both played by the ubiquitous Mr. Morse. What can this guy not do on a fretted and stringed instrument? I asked myself. Meanwhile, the song kept rolling along, moving back into dueling piano and fiddle connected by electric bass dominated transitions, eventually finding it way back to the original theme at which time the band decided I had been dazzled sufficiently and allowed the track to end.

By this time, I was licking my chops to taste the next cut, Refried funky chicken. And I was not to be disappointed; but, rather than rendering a pure description of the music, I'll try to capture the flavor of the experience with images that passed through my mind listening to it for the first time: A wicked wah-wah chicken scratch guitar kicked off like something written for Shaft IV: The Brother Man in La-la Land, where during the opening credits, we see the detective in cool soul brother mode cruising around in his bad ride doing the gangster lean. Soon, we realize that he is either being hit by a sudden manic episode or he has been given a drug that causes him to jump out of the vehicle while passing through an upper middle class white neighborhood at 3AM and begin doing St. Vitus' Frug, (the long-forgotten Thousandth Dance Wilson Picket never warned us about because commercial considerations wouldn't allow his song to last that long). When the neighbors come out to see what's happening, Shaft rips off his shirt and starts sticking out his tongue at them and demanding they hand over their teenage daughters. At the same time, he is possessed by the spirit of Jimi Hendrix who makes him tell everyone off using talking wah-wah for his voice. Their patience running out, the homeowners call the police who suggest that the issue be resolved in a dance contest with Shaft taking on all comers. After he shuts down the first few to the accompaniment of hot licks on the fiddle and fuzz lead, the doors of a mansion fly open and a drunken Anne Bancroft dressed in a scarlet teddy stumbleslinks out to challenge him to a strut off, which ends as the erstwhile detective comes to his senses and starts to run away with the entire cast chasing him playfully with Pickrick matchsticks. As the mob closes in, Shaft is rescued from his embarrassment by a fur-clad Donna Summer who pulls up in a Rolls Royce and hustles him away. By the way, the bass by West is so fine it makes me wonder if he hadn't been sneaking out on school nights to play with James Brown. Can you hear it yet?

Anyway, the next cut, Sleep, brought welcome relief from the dizzying pace of the Dregs' creative brainstorms. A Byrds-like electric guitar played a wistful late Renaissance ballad with the yearning melody sung by a synthesizer set to a 1950's sci-fi alien Siren organ tone.

The title of the next piece, Cruise Control- sounded innocuous enough, like the guys would be taking a sort of breather to let the listener recover further. However, after an ominous humming chord emerged, the band hit the unsuspecting listener with a six minute musical statement of "Bang, now that you know we can restrain ourselves in the service of good taste, here's where we start showing off!" True, the bass and drums sound like they're rolling down the road, albeit at high speed, but the drivers of the vehicle, no, the three motorized juggernauts hurtling along together, embodied in one-upping solos among guitar, keyboard and violin, have been mainlining methamphetamine and are feeling a false sense of extreme well-being as they catch up to one car after another, dodging them when possible and running them off the road when not. As all of this is relentlessly building to a horrible crash with the certainty of multiple fatalities, metal parts start coming loose and springing out from under the hoods of the cars. Then, out of nowhere, in a pure miraculous act of grace, the crazed pilots are transported gently to a transcendent and noble realm where I can see them marching solemnly in caps and gowns as they graduate to a higher level of being. Just when everything's looking good and I'm feeling that the story will end happily, alarms sound and everyone looks upwards. A group of winged harpies has appeared in the sky and is swooping down menacingly! The hideous hags land in front of the heroes and begin haranguing them like so many nagging housewives who want to know why the garbage isn't being taken out on a regular basis. A cacophonous argument ensues with no one able to get the upper hand. The energy from the impasse is building dangerously until it explodes like an H bomb, abruptly causing the drivers to be teleported back to the highway at the wheels of their death rockets. But the return to earth has brought them back to sufficient sanity that they all pull synchronized bootlegger turns and bring their cars safely to a sliding halt, intact.

That was not the end of the LP; but, it was, as they say, all she wrote: Like a born alcoholic sipping his first drink, I was hooked. It wasn't just the amazing proficiency and versatility of the musicians or even their obvious devotion to the rock and roll, blues, jazz, and country roots of American popular music. It wasn't even the fact that the lead guitar and bass were the very best I had ever heard on their respective axes (not to discredit the other guys, all of whom could play their buns off). It was the playful creative intelligence and sheer auditory pleasure of the music that got me. These guys were having shameless levels of fun writing and playing circles around virtually everyone, they were doing it without vocals, and the bottom line: it sounded great. Prior to this evening in Addie's bedroom, I would have had difficulty imagining myself listening to contemporary electric music that was devoid of singing and lyrics for hours on end. As it was, I had so much trouble tearing myself away from compulsively replaying the Dregs' tape that I came very close to getting discovered by Addie when she finally came home in the early morning hours through the same window by which she had left.

I've heard the 1st 3 dregs albums and I can say that without a doubt, I like this one the best. They are all good, but this one really shines.
The Dixie Dregs are an interesting group. Are they fusion or are they progrock? I'd say they are a fusion band that is very influenced by progrock. Because of this, they are one of the more interesting and enjoyable of the so-called fusion bands.
The 2nd album is great, but this 1st one really does it for me. Energy and complexities are everywhere. Notes fly by at seemingly light speed at times, at other times, things are toned down, but always only briefly. This album is mostly a rush from beginning to end.
I wouldn't say it is the best intstrumental album I've ever heard, but it ranks up there with some of the best I've heard.
If you want to try out the Dregs, start with this one.

The first *official* recording by the Dregs (there WAS a white album in the mid-70s, but I didn't know how good they were yet!) showcases their awesome instrumental capabilities, masterful fusion of styles and influences, and improvisational skill. It's all here -- the bluegrass, classical, fusion, straight-ahead rock, blues roots -- don't sort it out, just appreciate it! More than anything else, you know that Steve Morse, Andy West, Allen Sloan, Rod Morgenstein, and Steve Davidowski have a great time together making innovative music, and keeping you guessing about what comes next. Personal favorites are Moe Down (high-steppin!), and the powerful Cruise Control (you'd better be strapped in for this one!) The only place The Dregs sound better is live -- and you can't get that anymore. But if you rocked with them at Memorial Hall at the University of Georgia in Athens, or at the Georgia Theatre, then this brings it all back. I'm trading in my 1977 vinyl for this CD (I no longer own a turntable!)!

I used to go to the Georgia Theater in Athens, Georgia in the late seventies/early eighties to watch the Dregs. They were the best. Their style was their own, beyond description. When I listen to this album, I am transported to my days of humid summer evenings in the deep south, dancing in the shadow of oak trees.

My introduction to Steve Morse came secretly via his appearance on Triumph's final studio effort "Surveillance". I didn't pay much attention to the name of the guest player and it wasn't until almost 20 years later that I found out it was Morse. Now I am familiar with his work on the last four Deep Purple albums and I decided to check out his roots, going back to 1977 with this album. I had no idea what to expect. Rock/jazz fusion guitar and fiddling were on this album. What was I in for?

Musically, the album is really good. These guys know how to play what they play and they do it well. Every member contributes his skill right from jazzy drum rhythms, wicked bass grooves, searing fiddle playing, groovy keys, and of course, Morse's flying fingers on the fret board. There are no vocals. Every track is purely instrumental.

But what kind of music is this? It sounds to me as though the jazz band at my old college donated the tablatures for the music they played to various artists from the Windham Hill New Age/Folk collection (later Windham Hill was Morse's label!), the Rankin Family, the Alan Parsons Project, and some very talented young guitarist. Fortunately for me, I have albums by everyone mentioned above except the jazz band of my old college. Taking a moment to adjust, I was able to appreciate the music on this album. Particular favourites are "Refried Funky Chicken" and "Holiday", but other tracks are good too. This is, however, not the kind of music I am into at the moment and for that reason only will Dixie Dreggs not be making frequent visits to my CD player in the near future. The talent and music is extraordinary, though, and the album is fun. Four stars for sure; five for the talent and creativity.

The Dixie Dregs played in the city park of my home town back around 1977 +/-. Their first album had been recently released and we were treated to all of these songs LIVE! All of the local musicians were awe struck with the musical complexities and the fact that the band was impeccably tight! Nevertheless, the band members just seemed to be having a fun day playing some tunes on a sunny afternoon!

There is hardly a music style that the Dregs don't touch on this album adding always their unexpected and unusual flare! It's a must buy for musicians!

The first time I heard the Dixie Dregs (Around 1978)I was hooked.I love the energy that comes from thier music.I think that Freefall over all is thier best album although I like Dregs of the Earth also.I saw them in concert in 1980 and was blown away,it was wonderful.Great musicians,just wish they were back together.