Trevor Rabin returns with the upcoming release of  Jacaranda in tow, and it's a heavy load to take in all in one sitting. There are a lot of scents that come from the tree, so he manages to illustrate the title quite well indeed. Most of the work is done by Rabin himself, with the exception of three drummers used on tracks which he opted out of handling the percussion. Those drummers are Vinnie Colaiuta, Lou Molino and Rabin’s son Ryan Rabin. In addition to the guest drummers, it also features both Tal Wilkenfeld (Jeff Beck, Herbie Hancock)on bass for the track “Anerley Road” and Liz Constantine on vocals for the track “Rescue.” After composing many film scores and recording with everyone from his first band Rabbitt, moving onto Yes, and going onto work with everyone from Michael Jackson and Seal, to Tina Turner, Paul Rodgers and Bob Dylan, Trevor Rabin is one musician who has earned the title as one of the premiere guitarists in the world over most of the last 25 years or so. He tends to get a little tired of one form of composing or another and switches it back up out of sheer boredom, but these bouts last for years at one thing or another. On this, his latest outing, he practically outdoes himself once again with another genuine recording that sounds as good ever. Laughter and wisdom never sounded so good together, as he shows them all how it's done.

This review is available in book format (hardcover and paperback) in Music Street Journal: 2012  Volume 2 at lulu.com/strangesound.

 This is another mad piece of work that is full of familiar melodies and big bass grooves, yet sparkled with subtle motifs throughout. There is a real jazzy feel to this, but that is just the beginning in that area. This involves a few really quiet parts that go down so low you can hear a pin drop before it goes back into full jazz fusion with some fantastic drums and soundscapes. This is beautiful!

Speaking of Beck, this track is highly reminiscent of his approach to this type of instrumental rock. Of course, Rabin doesn't stay in one place for long enough to count very far before it turns into a completely different animal. The keyboards figure prominently throughout this number and it doesn't disgrace. In fact, it totally enhances the number with every turn. More soundscapes help round out the track perfectly. This is very trippy stuff indeed, where things get more abstract than anywhere else on offer.

Once again this is a killer track with lovely acoustic melodies throughout, as it plays rather short but still seems to have quite the wingspan. It’s another mesmerizing track with class written all over it.