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Simon Phillips

Another Lifetime

Review by Gary Hill

Although this album is more of a jazz album than anything else, it is included in the prog section because of Simon Phillips involvement in many assorted prog projects, most recently the ELP tribute album also reviewed this month. The music here is very enjoyable jazz with some fusion and prog rock leanings.

The musicians joining Phillips on this album are Andy Timmons, Wendell Brooks, Jeff Babko, Ray Russell, Anthony Jackson and Peter Michael Escovedo.

This review is available in book format (hardcover and paperback) in Music Street Journal: The Early Years Volume 2 at

Track by Track Review
Smooth jazz with a Pat Methenyish approach, this one includes a hard rocking segment. Overall, the number is inspired jazz with nice changes.
Funky, tribal rhythms begin this cut, but eventually more modern jazz tones enter. The rhythm to this piece has a Dimeolaish feel without the scorching guitar work that is often the signature of his work.
Freudian Slip
Featuring a slow, funky rhythm section with a nice horn groove, this is another solid jazz number, and features a strong rock segment.
Eyes Blue For You
Another solidly funky modern jazz number, this one features some very nice nonlinear changes at times.
Kumi Na Moja
The intro to this cut is a series of extremely brief segments. Beginning in progish tones that seem just a bit old Genesisish, the mode then shifts to sedate jazz. Next, a harder progish section kicks in, to be followed by a hard-edged Dimeolaish portion. All this gives way to a main song segment that is a solid modern jazz groove with Dimeolaish guitar work.
Mountain High
Mountain High is a mellow jazz cut with a pleasant smooth relaxing texture.
A harder edged piece, this is competent fusion and features some quirky riffing on a couple of segments. The cut also showcases a good variety of textures and modes. This is an incredible number.
This is another nice jazz cut, this time built on a world style rhythm section.
Another Lifetime
A very intriguing bass line (somewhat ominous, but with a nice walking groove) begins this piece. This one, another standout cut, is quite dynamic and rather quirky.
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