Shawn Lane
Powers Of Ten

What I am about to review should be considered (and I don't think I'm exaggerating) one of the best albums ever written. Produced and released on the market back in 1992, "Powers Of Ten" by the great Shawn Lane is a magnificent jazz fusion album with vaguely rockish hints. I would like to first say a few words about this fantastic musician, unfortunately passed away at the age of 40: Shawn Lane was and will surely remain one of the best guitarists to ever walk the earth; no Petrucci or Vai exists who can hold a candle to him. Lane had, in addition to an impressive technique from every point of view, a touch and a love for music (the real kind, the kind that steals your heart with its class and lightness), that captivated you and transported you to another place where you could, and I personally still hope to go, relax and think of beautiful, tranquil things.

This immense work opens in the best way, with a dreamy, melodic, sweet, and light track that touches my deepest feelings; the song in question is called "Not Again," a true masterpiece of fusion that shows us a guitarist who, without playing impossible solos, gives us sensations that are more unique than rare. The drum tempos are those classic of jazz, the rather studied and yet complex music is listened to with love and joy, which according to me is becoming more and more difficult. (Rating 10).

It continues with another masterpiece: "Illusion," beautiful, words to describe it do not exist, I could try with cheerful, light, fantastic... but perhaps not even a dictionary of compliments would be enough to describe such beauty transformed into musical notes. In this track, Lane tends to slightly highlight more of his immense technique, through solos executed first with an acoustic and later with an electric guitar that truly impress. Magnificent. (Rating 10).

Then we move on to "Get You Back," a song of considerable charm with more pronounced rock accents: in this case, jazz is somewhat set aside, but this can only be pleasant in order to slightly break the rhythm. Once again, the work of all the components is exceptional, gifting us with an instrumental that gives chills and a unique joy. (Rating 9.5).

We thus arrive at "West Boogie Side," a truly fantastic piece that greatly recalls the style of Steve Morse. Excellent musicality and great rock riffs that would make anyone pale for their perfection and refinement, magnificent as always (but I'm no longer surprised) are the musicians, who manage never to let the listener's attention wane. Exceptional the guitar solo in the middle of the song. (Rating 10).

And now after two fusion pieces and two rock ones, we move on to the purest and most uncontaminated jazz. 13 minutes of pure bliss with "Powers Of Ten" that shows us a musician who like few (see Pat Metheny) manages to construct a long suite, of a disarming beauty that leaves you speechless for various reasons, whether it's because it's light, because in other parts it becomes more decisive, but also for its resemblance in some parts to the classical music of the late 1700s. A magnificent operetta that once again cannot but be defined as a true masterpiece. (Rating 10).

Another great track, this time played entirely on the piano, perhaps the track that appeals to me the least, but due to my own fault... not being a great lover of tracks played only on piano, I can't fully grasp its beauty, but I'm sure there will be many people able to appreciate it! (Rating 9-).

We thus return to vaguely rockish tones with Paris, a song in which the bass becomes lively and tinges the track with imaginative notes, as well as fantastic ones, a fun and cheerful piece that divides itself between rock and classic jazz in a knowledgeable way, resulting in a unique piece upon listening, try it and you will surely agree with me, I assure you. (Rating 10).

The next piece, "Esperanto," is surely the most easy-listening of the whole album, simple yet very pleasant melody, for a song that slips away without even noticing, not a masterpiece on the level of the others but still an excellent song. (Rating 8.5).

"Rules Of The Game" is another track with fairly fast rock tones, tending to highlight the technicalities of drums and guitar with the notable aid of piano, bass, and xylophone. Dreamy the central part with the brief help of a fine saxophone. (Rating 9.5).

The 10th track, "Gray Piano's Flying" presents us with a perfect blend of jazz and progressive rock, which in my opinion deserves many listens before being fully appreciated due to perhaps excessive guitar virtuosity. Good track but maybe nothing more, along with "Esperanto" the least fantastic. (Rating 8).

And now we have reached the end of the album, which closes with the very short song "Epilogue For Lisa," a song that, forgive me, but I really don't know how to describe, I could try but I still wouldn't be able to express its infinite sweetness and beauty, its refinement and spontaneity... the only advice I can give you is to listen to it, and maybe then you will understand me and understand what it really means to compose music of great class. (Rating 10 and praise... I'd give more but that doesn't exist!!!!!).

In conclusion, I feel I can define this album as perfect from every point of view: technique, harmony between the musicians, musicality. There are no Images & Words in comparison, even though I know they are two different genres. I wholeheartedly recommend you to listen to it, you will not be disappointed at all.