Ed Palermo: Prog vs. Fusion: A War of the Ages

Well, if it walks like a big band and talks like a big band...chances are it's a big band, even though, in the case of Ed Palermo's New York-based 18-piece ensemble, it neither walks nor talks much like any other big band on planet earth. On Prog Vs. Fusion, Palermo casts aside many established harmonic principles in favor of fomenting and supervising a colossal struggle between the powerful forces of progressive rock and fusion.

In doing so, he unravels and redesigns the music of such diverse entities as John McLaughlin {with and without the Mahavishnu Orchestra), Steely Dan; Emerson, Lake and Palmer; Tony Williams; Frank Zappa; King Crimson; Yes; Allan Holdsworth; Soundgarden, Chick Corea and Wayne Shorter. It is an adventurous and varied menu, at times grungy, at others quirky, and one that for many a listener will no doubt be an acquired taste.

This is high-energy music, driven for the most part by brass and rhythm (especially drums) with seldom any pause between the various numbers, making the whole sound much like a suite whose distinctive parts are interconnected yet dissimilar. The woodwinds also play a pivotal role, using the lower register to lend the enterprise diversity and weight. There are 19 themes in all, the longest of which—King Crimson's elaborate "Pictures of a City," clocking in at 6:34—closes the album.

While there is some improvisation, it's clear that this not the fuel that keeps this engine running on all cylinders. Tenor saxophonist Ben Kono solos on "Long Distance Runaround" and "Mystic Knights of the Sea," soprano saxophonist Phil Chester on "Take a Pebble" and "There's No Mystery About My G-Spot," violinist Katie Jacoby on "Snake Oil" and "One Word," pianist Bob Quaranta on "The Fish." Bruce McDaniel adds his voice to the opening "Resolution" and "Pictures of a City," and again (with guest Mike Keneally) on Soundgarden's "Black Hole Sun." Sturdy impressions matched stride for stride by drummer Ray Marchica and the hardworking rhythm section.

Rating Prog Vs. Fusion is awkward, to say the least, as the music has never before been heard, let alone appraised, by this reviewer's ears. Apparently, Palermo and his band are wholly on board, escorting the muse wherever it leads them. Whether others enjoy the ride is a matter of personal taste and musical experience. While the album landed here with a whimper, not a bang, those who are closely aligned with prog and fusion may find it far more pleasurable and exciting—which is another way of conceding that this basically uninformed opinion hardly represents the last word as regards Prog Vs. Fusion. Listen carefully and make up your own mind.