Customer Reviews

Sorcerer

5 star:		(7)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Recorded live in Boston at the Jazz Workshop in 1967 this disc demonstrates the majestic skill Gabor Szabo had. He could take a cheesy pop song made popular by Sony and Cher, like "The Beat Goes On" and really get the crowd into it, just loving it. On this familiar song he transforms the familiar into something new, bending the notes and transfixing the crowd and listener with his gypsyesque stylings, putting a spell on you, like the title itself suggets, from The Sorcerer. Part Django Reinhardt, part Wes Montgomery, all gypsy-jazz-guitar playing Hungarian, Gabor Szabo's fluid fingers are spellbinding. This is Zsabo at his creative omnipotence. This is a short disc but several tracks stand the test of time, including, "Space", a Szabo composition that captivates and takes you into the inner matrix, with accents of Indian music. His music sounds like a fusion of Middle Eastern, European and Western styles that results in a unique brand of music that is signature Szabo. Other standouts include,"Mizrab" which is featured in a more primitive development on the "Jazz Raga" album(unfortunately the album is not available on CD yet) and here it is stretched out to the outer limits for an extended delight,the melodic and romantic "What is This Thing Called Love",taken from the picture of the same name, the expansive notes rendered on "Comin' Back" that intertwines with the percussion to create a happy festive feeling and ending to what must have been a memorable spring night in Boston and the bossanovasque "Little Boat"(O Barquinho)that leaves the traditional soft melodies of the bossa nova for a faster paced interaction between the musicians that highlights Szabo's talents as a leader as he relinquishes the lead for an extensive percussion solo only to take control again with this magic. An underrated guitar player, Szabo was ahead of his times but died too early to fully develop his lasting legacy. As an innovator he was one of the best in his time, recognized by many musicians(he influenced Santana) and should likewise be discovered or rediscovered by you. I take one star away for the brevity of the disc, otherwise it is a top notch performance, without any studio overdubbing, just pure sorcerey.

The first fusion recordings are atributed to Miles Davis' late sixties quintet with Wayne Shorter, and perhaps this is correct, but the jazz/rock/world music (Brazilian/Spanish/Indian) brew that Gabor Szabo was concocting in this 1960's session cannot be overlooked as something inconsequential. It's not only Szabo's pop/rock leanings but his approach to playing the guitar which should assure his inclusion among the pioneers of the musical genre that was later to be called fusion. He often uses sound effects and drone tones as well as chords and single-note techniques that were quite outside the standard jazz vocabulary of the time. Aside from that the record is thick with the late 60's atmosphere - I can just picture a smoky coffee house filled with smells of coffee, cigarette smoke and incense. It is no surprise that Carlos Santana quotes Szabo as one his earliest influences.

Some songs meander meaninglessly without developing a cohesive solo, but there are some others with some nicely done solos as well. He does a great job on the bossa novas - some people will say they are cheesy, but you have to remember that in the sixties, bossas were absolutely in vogue, and therefore super cool.

A nice album that will definetly appeal more to the fusion fans than jazz purists.

Years ago, when my blase ears first encountered Szabo's 'Sorcerer,' it immediately became a favorite; I couldn't tell why and that was precisely one of its fascinations.

Hungarian ex-patriate and former Chico Hamilton bandmate Szabo seemed to have zeroed-in on and captured a mysterious zone or niche hitherto unexplored by jazz and rock guitarists alike. The transcendent aura that resided there, seemed to be a JAZZ-MEDIATED mixture of GYPSY ESSENCES: the essence of Hungarian gypsy music that Szabo grew up surrounded by, and, of course, whatever gypsy essence existed in the hectic Zeitgeist of the late '60s.

The considerable technique of Szabo and his co-horts would not be of much interest outside that HIPPIOGYPSYJAZZ unifying triangle. Szabo's style crossed over to younger generation rock musicians, such as Jimi Hendrix and Carlos Santana, who to this day acknowledges him as a seminal influence. Szabo's syncopated dual guitar playing with Jimmy Stewart is the true forerunner of Fripp-and-Belew's similar 'DEPTH' explorations on King Crimson's "Discipline," some 15 years down the road.

Over the years, only the effect of 'Space' (being too monotonous for my taste) has faded; most of the rest (and especially 'Mizrab') have remained as UNIQUE IN ATMOSPHERE as the first time I heard them.

P.S. Most of my comments here also apply to Szabo's "Jazz/Mysticism/Exotica," the comments to which I had to cut pedestrian to attend to some 'urgent' business.

This brilliant live album by a relatively unknown guitarist instantly became one of my favorites in the jazz idiom. Szabo's unique and provocative style is an absolute delight, and his minimalist solo style will amaze you from the first track on. Songs vary from the percussion driven "The beat goes on" to the reflective and Eastern influenced "Space". Every track moves the listener in a new and intriguing directions. If you love jazz, you simply must own this album.

My introduction to Gabor Szabo was back in the late 1960s when the older brother of a girlfriend turned me on to his music and the music of a great many others. I was only twelve or thirteen at the time, but even at that age could see that this was something special.
Over the years, I ended up buying this album and a few other early Szabo albums and even had the good fortune to see him perform live at the Boojum Tree in Phoenix in the mid-70s.
I hadn't listened in years, however, until recently a friend I was visiting had it on his CD player.
Ah! The memories it brought back! When I got home, I ordered it here and when it arrived the music instantly transported me back to those halcyon days of long ago. My favorites here are Little Boat, Lou-ise, Space, Mizrab, and the magnificent Spanish-tinged tour de force, Los Matodoros. Szabo's play is redolent of the mysteries of the Old World and with Jimmy Stewart playing in counterpoint to him, your listening pleasure is doubled.

Though I agree with some of the reviewers that The Beat Goes On, People, and Corcovado are cheesy, their inclusion on this CD does not detract from its five-star rating. Those who know the music of Szabo know he had an odd fondness for some songs that have no musical merit but there is less of that kind of pap here than on some of his later recordings.
Anyone who is enjoys jazz or simply great guitar playing should be interested in hearing this. The Sorcerer epitomizes late 60s jazz and that makes it an essential addition to any serious fan's CD library.

I think I have the greatest GAbor Szabo collection in the world.
This album is one of the reasons why. Working with a Hungarian background, Gabor had always fresh new ideas. It's a shame he isn't 70 years at this moment.Watch also Jimmy Stewart on second guitar.

Gabor Szabo has ALWAYS had a unique way of playing Jazz Guitar and he really shined on almost all of his Impulse Recordings. On this 1967 Impulse release we find our Guitar Master recorded 'Live' in a intimate setting at The Jazz Workshop (Boston, Massachuesettes). The Compact Disc opens up a Jazzed-Up version of "The Beat Goes On", Plus Steller performances of: "Little Boat", "Space", and "Mizrabi". This entire Compact Disc clocks in at 38:00 (Thirty-Eight Minutes) and I'm pretty sure MCA (Universal Music Group) could have came up with some Bonus Tracks and/or Alternate Takes from the 2 (Two) nights of recordings from this
from this engagement! Even a Two-Fer Package would have been a real treat! But for now you'll just have to live with (And enjoy) THIS Compact Disc!

Szabo has one of the most beautiful tones on jazz guitar. He tone is reminiscent of Kenny Burrell. This album is laid back in mood with distinctive quaities such as a second acoustic guitar, elements of eastern exotica, touches of bossanova and the ballad side of "gypsy" guitar playing. The album gets slightly redundant here and there but he
plays with remarkable sensitivity adding new life to a few pop songs as well as originals and even uses a few feedback wails as melodic drones. Szabo also has solid jazz chops but has no need to excessively show them off at all times. There is a sensual, mystical quality to the music. If you like this album check out Kenny Burrell's acoustic album with orchestrations by Gil Evans called "Guitar Forms" another classic of melodic jazz guitar.Guitar Forms

Gabor, was a friendly guy to talk to.
Oh, his music. He played the song inside of the song. Same with all of them on all recordings. It's "planet" Life Dance from Gipsy Life Force. Some feel it, some don't. That's how it is for that! You don't always feel what someone else feels either. Makes it fun, no?
In La Jolla, California, in about 1982, just before he went home to die, Gabor played at the Blue Parrot, a dinky bar, and had half of the one hundred people up and dancing. He had something for them and they, for him! They needed it big time. Nice for la Jolla, where I grew up a long time ago, in a country far, far, away.

Sure to amaze on many levels, this relatively unknown master was a melodic magician. This album is capable of blowing even the most jaded jazz purist's mind. If you love jazz guitar, this album may brings tears of joy to your eyes. Surprising, amusing and always entertaining, some of these riffs will play on your mind for years to come. You must own this album!