When Lonnie Liston Smith left the Miles Davis band in 1974 for a solo career, he was, like so many of his fellow alumni, embarking on a musical odyssey. For a committed fusioneer, he had no idea at the time that he was about to enter an abyss that it would take him the better part of two decades to return from. Looking back upon his catalog from the period, this is the only record that stands out -- not only from his own work, but also from every sense of the word: It is fully a jazz album, and a completely funky soul-jazz disc as well. Of the seven compositions here, six are by Smith, and the lone cover is of the Horace Silver classic, "Peace." The lineup includes bassist Cecil McBee, soprano saxophonist David Hubbard, tenor saxophonist Donald Smith (who doubles on flute), drummer Art Gore, and percussionists Lawrence Killian, Michael Carvin, and Leopoldo. Smith plays both piano and electric keyboards and keeps his compositions on the jazzy side -- breezy, open, and full of groove playing that occasionally falls over to the funk side of the fence. It's obvious, on this album at least, that Smith was not completely comfortable with Miles' reliance on hard rock in his own mix. Summery and loose in feel, airy and free with its in-the-cut beats and stellar piano fills, Expansions prefigures a number of the "smooth jazz" greats here, without the studio slickness and turgid lack of imagination. The disc opens with the title track, with one of two vocals on the LP by Donald Smith (the other is the Silver tune). It's typical "peace and love and we've got to work together" stuff from the mid-'70s, but it's rendered soulfully and deeply without artifice. "Desert Nights" takes a loose Detroit jazz piano groove and layers flute and percussion over the top, making it irresistibly sensual and silky. It's fleshed out to the bursting point with Smith's piano; he plays a lush solo for the bridge and fills it to the brim with luxuriant tones from the middle register. "Summer Days" and "Voodoo Woman" are where the electric keyboards make their first appearance, but only as instruments capable of carrying the groove to the melody quickly, unobtrusively, and with a slinky grace that is infectious. The mixed bag/light-handed approach suits Smith so well here that it's a wonder he tried to hammer home the funk and disco on later releases so relentlessly. The music on Expansions is timeless soul-jazz, perfect in every era. Of all the fusion records of this type released in the mid-'70s, Expansions provided smoother jazzers and electronica's sampling wizards with more material that Smith could ever have anticipated.
Smith, Lonnie Liston & the Cosmic Echoes – Expansions – Used LP
vinyl: G+ (at the end of side one, record skips on my player. It appears to be a manufacturers defect. Other than that and some minor crackle from surface scratches, it sounds pretty great.)
Sleeve: VG+ (really nice. Embossed stamp "Not For Sale Promotion Use Only" on back left corner.)
Lonnie splits from Miles Davis in 1974, and while he reportedly released many forgettable sets, this one from 1975 provided something for folks to remember, the style definitely not my bag, the smoother side of jazz complete with flutes and junk like that, but that laid back groove is infectious, moving along in the pocket, powered along with considerable help from Cecil McBee’s dominant bass line, as well as drums and the percussion of three others, and once it runs through the electronics of “Shadows,” Lonnie has got my attention...from the stream of synthesizers, the funk rises. Click off the lights and dig it.
While fans of jazz or many fans of funk might find many selections to enjoy, for me, it’s that one cut, when all the flutes and saxophone drop out and it’s just “electronic keyboard textures” and the rhythms, when the players dissolve into the sounds and shadows, where the musician is forgotten and the music takes over...and takes on a life all its own. — winch
AllMusic Review by Thom Jurek: