“Some Shapes to Come:” A Fusion Masterpiece by Steve Grossman

Introduction:

Jazz fusion in the 1970s was a fertile ground for musical innovation, blending the sophistication of jazz with the raw energy of rock, funk, and Afro-Cuban rhythms. Among the standout releases of this vibrant period was “Some Shapes to Come,” the debut album by saxophonist Steve Grossman. Released in 1974 on PM Records, the album not only introduced Grossman as a leader but also showcased a lineup of some of the most forward-thinking musicians of the time. Though often overshadowed by iconic albums such as “Bitches Brew” or “Black Market,” “Some Shapes to Come” is an underappreciated gem that holds its own with its artistry, adventurous spirit, and groove-laden execution.

In this blog post, we’ll explore the context, musicianship, and lasting impact of this remarkable album, unpacking why it remains one of the 1970s’ most unheralded jazz treasures.

The Context: A Meeting of Giants

By the early 1970s, Steve Grossman was no stranger to the jazz world. Having played with Miles Davis during his electric period, Grossman had honed his craft alongside visionaries like Chick Corea and John McLaughlin. The influence of Davis’ groundbreaking experiments with fusion is evident in “Some Shapes to Come.”

The album also brought together a stellar supporting cast: bassist Gene Perla, percussionist Don Alias, and keyboardist Jan Hammer. Each musician contributed not just technical mastery but also a unique stylistic voice that elevated the album. Grossman, Alias, and Perla would later form the Stone Alliance trio, but “Some Shapes to Come” marked the first time their collective chemistry was captured in the studio.

Recorded over three days in September 1973 at The Secret Sound studio in New York, the album was produced by Gene Perla and featured compositions from all members, emphasizing a collaborative approach to creating boundary-pushing music.

The Tracks: A Journey Through Fusion

The album consists of seven tracks that explore a wide spectrum of jazz fusion, from fiery improvisation to groove-heavy funk. Let’s delve into some of the highlights:

• “WBAI” (2:07) – Opening with a brief and punchy introduction, “WBAI” sets the tone for the album’s exploratory spirit. Grossman’s saxophone immediately commands attention with its searing energy, while Alias and Perla lay down a tight rhythmic foundation.
• “Haresah” (7:06) – This track reveals Grossman’s lyrical side, with a melody reminiscent of McCoy Tyner’s modal explorations. Hammer’s electric piano adds rich harmonic textures, while the rhythm section shifts seamlessly between introspection and intensity.
• “Zulu Stomp” (6:13) – A funk-infused gem, “Zulu Stomp” exemplifies the album’s groove-driven core. Alias’ percussion is front and center, injecting Afro-Cuban energy that complements Grossman’s rhythmic saxophone lines. The track has a breakbeat-ready quality, making it a standout example of fusion-funk.
• “The Sixth Sense” (9:30) – Clocking in at over nine minutes, “The Sixth Sense” is the album’s longest track and arguably its centerpiece. The interplay between Hammer’s Rhodes, Perla’s bass, and Alias’ percussion creates a hypnotic groove. Grossman’s improvisation here is both bold and deeply melodic, showcasing his ability to balance freedom with structure.
• “Pressure Point” (4:52) – The most straight-ahead track on the album, “Pressure Point” nods to Grossman and Perla’s hard-bop roots. Yet even here, the rhythm section’s subtle funk inflections keep things fresh and dynamic.

The Musicianship: A Perfect Balance

One of the defining features of “Some Shapes to Come” is its balance between individual brilliance and collective cohesion.

• Steve Grossman: On both tenor and soprano saxophones, Grossman’s playing is fiery and precise. His solos are rhythmically charged, often approaching the saxophone as if it were a percussion instrument. This rhythmic approach gives the album a unique drive and intensity.
• Don Alias: Known for his work with Miles Davis and Joni Mitchell, Alias proves why he was one of the era’s most versatile percussionists. His use of congas, bongos, and bells adds layers of complexity to the album, particularly on tracks like “Zulu Stomp.”
• Gene Perla: A linchpin of the ensemble, Perla’s bass lines are both groovy and grounding. His ability to seamlessly shift between acoustic and electric bass gives the album its dynamic range. On tracks like “The Sixth Sense,” his playing is a masterclass in how to anchor a composition while driving it forward.
• Jan Hammer: Best known for his work with the Mahavishnu Orchestra, Hammer’s contributions on electric piano and Moog synthesizer are essential to the album’s sound. His dense, molasses-thick chords and searing solos (particularly on “The Sixth Sense”) add a rock edge that complements the jazz elements.

Reception: A Hidden Treasure

While “Some Shapes to Come” received positive reviews upon release, it didn’t achieve the same level of recognition as other jazz fusion albums of the time. Critics like Vincent Thomas of AllMusic have since praised the album, noting its artistry, musicianship, and ambition. Thomas writes:

“[It] is an album you can stand up against almost any of the jazz fusion standouts of the ’70s… There are no lowlights on this album, no soft moments. Often overlooked, it is one of the ’70s most unheralded jazz gems.”

Jamie Atkins of Record Collector echoed this sentiment, highlighting the album’s boundary-pushing nature and the chemistry of the ensemble:

“1973’s Some Shapes to Come is a wild ride… Add Don Alias on loose, exploratory percussion and Jan Hammer on keys, and you have a pretty spicy proposition on your hands.”

Legacy: Why It Matters

Though it may not have the name recognition of albums like “Bitches Brew” or “Head Hunters,” “Some Shapes to Come” deserves its place in the pantheon of jazz fusion. Its blend of Afro-Cuban rhythms, hard-bop sensibilities, and funk grooves makes it a unique and compelling listening experience.

The album also marked the beginning of Grossman’s career as a leader, setting the stage for future projects with Stone Alliance and beyond. For fans of jazz fusion, it remains a must-listen—a reminder of the genre’s capacity for innovation and boundary-breaking creativity.

Final Thoughts:

“Some Shapes to Come” is more than just an album; it’s a testament to the possibilities of musical collaboration and exploration. With its top-tier lineup, bold compositions, and infectious grooves, it captures the spirit of 1970s jazz fusion while carving out its own distinct identity.

If you’re a fan of jazz fusion and haven’t yet explored this album, now is the time. It’s a wild, groove-laden ride that rewards repeated listening and offers new discoveries with every spin.

References:

1. Larkin, C. (2006). The Encyclopedia of Popular Music. Oxford University Press.
2. “Some Shapes to Come” album cover art. Retrieved from https://en.wikipedia.org/wiki/File:Some_Shapes_to_Come.jpg