Personnel includes: Eumir Deodato (arranger, conductor, keyboards, synthesizer); Joe Temperley (baritone saxophone); Burt Collins, Jon Faddis, Victor Paz, Marvin Stamm (trumpet, flugelhorn); Jim Buffington, Brooks Tillotson (French horn); Wayne Andre, Garnett Brown, Tony Studd (trombone); Jerry Dodgion, Hubert Laws (flute); Harry Cykman, Max Ellen, Paul Gershman (violin); Alfred Brown, Emanuel Vardi (viola); Charles McCracken, George Ricci, Alan Shulman (cello); John Tropea (guitar); Stanley Clarke, John Giulino (bass); Billy Cobham, Rick Marotta (drums); Rubens Bassini, Gilmore Degap (congas, percussion).
Producer: Creed Taylor.
Reissue producer: Didier C. Deutsch.
Recorded at Van Gelder Studios, Englewood Cliffs, New Jersey in 1973. Includes liner notes by Didier C. Deutsch.
All tracks have been digitally remastered.
Deodato's debut for CTI, Prelude, earned him a genuine reputation for funky fusion with its groove-tight cover of "Thus Spake Zarathustra," the theme from Stanley Kubrick's 2001: A Space Odyssey. The rest of the album isn't quite as memorable, but it fit the bill and got nice reviews for its innovative read of Borodin and Debussy's "Prelude to the Afternoon of a Faun." On 2, the Brazilian composer and arranger dips into the funked-up fusion formula tank once again, and comes out with a more consistent disc than its predecessor. Arranged, conducted, and keyboarded by Deodato himself instead of CTI house arrangers Don Sebesky or Bob James, the maestro enlisted a fusion who's who of sidemen including drummer Billy Cobham, bassist Stanley Clarke, and flutist Hubert Laws, as well as rockers like John Tropea on guitar. The larger ensemble that provides brass, woodwind, and string support includes trumpeter Jon Faddis and Jim Buffington. "Super Strut" kicks it off. Deep-grooved lines of accented angular riffing and rim-shot syncopation by Cobham turn this simply notated four-stepper into a burning ball of greasy rock and souled-out jazz. This is followed by a wildly campy but nonetheless wondrous read of "Rhapsody in Blue" done Stevie Wonder-style. Deodato's keyboard work never lets the groove drop; he pulls the rhythm section down around him and hunkers his phrasing to punch up the long, sweeping horns and string lines. Less successful is a read of "Nights in White Satin," with its overwrought strings, and a "Pavane for a Dead Princess" that's a snore. The album officially closes with "Skyscrapers," another jazz-rock rave-up that blasts holes in the sonic sky with its dueling keyboard and guitar lines. ~ Thom Jurek