Passport are one of my favorite jazz-funk fusion bands. Klaus Doldinger,a Berlin native who’d studied in Dusseldorf and come in Oscar Peterson tribute bands and recorded solo records in America, is the saxophone player who formed the group in the year 1970. The band still exists today. In the 70’s and 80’s,they were perceived as a mainly European centered Weather Report-not having WR’s major international acclaim. Yet whether they were making progressive jazz/rock,jazz-funk,Brazilian jazz or even new wave inflected pop later, they generally seemed to always find just the right groove for their songs.
It was my father who first exposed me to Passport. He found their 1974 LP Looking Thru in the attic of his parents house when a tenant left some vinyl behind. Hearing that got me looking for more albums of there’s. One I did find was 1976’s Infinity Machine. This was in an early to mid 70’s lineup of the group which included drummer Curt Cress,keyboardist Kristian Schultze and bassist/guitarist Wolfgang Schmid. Today I have all their 70’s and 80’s album on CD. In any case Infinity Machine opened with a bang with the elongated instrumental “Ju-Ju Man”.
After a brief little drum kick,the song begins with a bumping uptempo percussion kick-with Cress’s drums fan-faring in with a strong swinging groove. Than a melodic 14 note Moog bass riff takes hold-with Doldinger’s sax accenting it. Afterwards,Doldinger solos with Schmid’s bass and guitar as call and response. After the sax breakdown of this choral/refrain sequence,Doldinger takes an elongated sax solo with Schmid’s bass the the Moog right along with him. After another solo on lead synthesizer,the main chorus/ refrain of the song repeats until it concludes the song.
“Ju-Ju Man” is some of the most vital,energetic and melodic jazzy funk I’ve heard this side of the Headhunters. The rhythm is driving,the solos are off the hook powerful and there are several parts of the song that are instantly hummable. Its also the type of jazz/funk that’s totally solo based. Curt Cress,as the drummer gives Doldinger and Schmid as primary soloists all the room to do their solos without merely vamping at “tennis without a net”. So in the end,it exemplifies Passport as one of the 70’s jazz/funk/fusion groups who really knew how to keep grooving and soloing locked right into place.