Who invented jazz-rock? Come on, who's to blame? (Only kidding: we all love it really, don't we?) Might it have been Jeremy & The Satyrs back in 1967? Whether Jeremy Steig and his collaborators were first, second or 53rd, they certainly had their place somewhere in the early proto-fusion mix. The Satyrs included Puerto Rican bassist Eddie Gómez, a long-time member of Bill Evans’ Trio as well as a sometime sideman to the likes of Miles Davis and Dizzy Gillespie. Flautist Steig also performed with Evans. All of which goes to show that the pair have at least significant anecdotal importance in the history of jazz (and I haven't even mentioned Steig's part in Shrek). But what about this pair of albums recovered from the vaults, recorded in late 1978 and early 1980 respectively at Electric Lady Studios in New York? The earlier Music for Flute & Double-Bass features just Steig and Gómez, although the heavy use of overdubs (as well as a significant arsenal of different flutes and basses) means they never sound lonely or isolated. Texturally dense, it's deeply chilled, as is Rain Forest (you’d expect nothing less with that title), which boasts a bigger cast of players, including the likes of Steve Gadd and Jack DeJohnette. Bonus material on the discs is drawn from a Berliner Jazztagen performance in October 1978 before either studio session had been recorded.