This Oneness -

This Oneness was an American jazz-rock band from Minneapolis that released the album Surprize in 1975.

Members: Bernie Pershey (drums, percussion, vocals), Douglas Nelson (electric bass, vocals, percussion), Dale Strength (vocals, acoustic guitar, electric guitar, percussion), Gregg Inhofer (vocals, piano, guitar, 12-string guitar, percussion), Robyn Lee (flute, saxophone, organ, synthesizer, vocals)

Background

This Oneness spun from Pepper Fog, a Minneapolis psych-rock quartet with multi-instrumentalist Gregg Inhofer and brothers Dale (guitar) and Bob Strength, the sons of hillbilly musician and radio host Bill Strength. Though unsigned, they performed one Inhofer track, “Celebration,” included on the 1970 regional sampler Gathering at the Depot alongside material by Thundertree and The Litter.

By 1973, Inhofer and Dale Strength embraced the instrumental jazz-rock of the Mahavishnu Orchestra and Return to Forever. They formed This Oneness with reedist/keyboardist Robyn Lee, bassist Douglas Nelson, and drummer Bernie Pershey, a prior member of the Litter-spinoff Lightning. They performed an early show in Fort Dodge, Iowa, at the Armory, a castle-like building that housed the state National Guard regiment.

In May 1974, This Oneness commenced a year-long stint as the live backing band of Australian pop singer Olivia Newton-John, who conquered the US market on her first visit. Their union culminated with a March 7, 1975 appearance on the NBC music program The Midnight Special.

Surprize

This Oneness released their proper album, Surprize, in 1975 on Oz Records, a self-operated label.

The album features multi-instrumentation by Greg Inhofer (electronic/acoustic pianos, 6-/12-string guitars, percussion) and Robyn Lee (flute, saxophone, organ, synthesizer). Surprize contains eight group-written titles and one (“Please Let the Sunshine”) with input by Bob Strength.

Musically, Surprize veers between jazz-rock improvisation, psych-informed fusion, and theatrical balladry. It contains extended passages of group interplay, instrumental detours, and multi-part suites.

Instrumentals such as “Merging Diversions” and “Surprize” draw on the fast-changing meters and rapid passages of early ’70s fusion. “In Out In Out” alternates wordless vocalizing and open time signatures with saxophone-heavy detours. “Radio Free Amerika” balances ominous themes with shape-shifting rhythm changes and group improvisation, echoing the theatrical pacing of Ambrosia. The relatively compact “Please Let the Sunshine” blends gospel voicing with loosely phrased Southern rock elements. “Song for Olivia” references the band’s time with Newton-John and reshapes sentimental balladry through abrupt harmonic turns and shifting phrasings. The opener “You Can’t Do That!” moves in 7½/4 with loose funk textures and clipped phrasing.

A1. “You Can’t Do That!” (1:45) – instrumental in 7½/4, shaped by erratic rhythm and a collision of jazz fusion and psych-funk
A2. “Surprize” (3:52) – opens with electronic effects and percussion before shifting to brisk ensemble playing
A3. “Please Let the Sunshine” (5:36) – gospel-tinged ballad with Southern pacing and layered group vocals
A4. “Song for Olivia” (3:09) – ballad with shifting harmony, written during the group’s tenure backing Olivia Newton-John
A5. “In Out In Out” (4:06) – sax-driven instrumental with free sections and percussive interludes

B1. “Radio Free Amerika” (7:13) – suite with darker tone, split between structured vocals and extended instrumental passages
B2. “Merging Diversions” (8:44) – extended jazz-rock instrumental with emphasis on solos and non-linear form
B3. “Surprize (Reprise)” – brief piano-led reprise of the title theme
B4. “Go In Peace” (3:45) – blends multiple stylistic elements with group vocals and fusion-style outro

Sessions occurred at Cookhouse Recording Studios in Minneapolis with This Oneness producing and John Calder as engineer and remixer.

The title features cover art by Dale Strength.

Amalgamated Funk (archival)

Amalgamated Funk is the first of two archival releases by This Oneness, recorded later in 1975 after the departure of vocalist Robyn Lee.

The album reflects a pivot toward instrumental jazz-fusion, centered on linear rhythm, compression, and collective arrangement. With the lineup reduced to a four-piece, the material favors ensemble precision over vocal structure.

All tracks were written and arranged by Gregg Inhofer, Dale Strength, Bernard Pershey, and Douglas Nelson.

The title track includes brief vocal interjections. “Punky” and “Transporter” unfold in long-form pacing, built around alternating rhythmic schemes and sectional contrast. “Booze in F” sustains rhythmic momentum across a single motif, while “Magik” closes the album in a compact format with clipped structural transitions.

A1. “Amalgamated Funk” (6:50) – includes vocal interjections; sharply plotted transitions
A2. “Punky” (7:42) – long-form instrumental with alternating rhythmic sections
A3. “Searching” (5:47) – mid-length piece with alternating pace and atmospheric layering
B1. “Transporter” (6:51) – structured in movements with extended instrumental soloing
B2. “Booze in F” (6:46) – straight fusion section with prominent rhythmic drive
B3. “Magik” (3:06) – tight, concluding instrumental with rhythmic closure

Sessions occurred in 1975, likely again at Cookhouse Studios, with no formal production credits issued.

Sonic Geometry (archival)

Sonic Geometry documents the final lineup of This Oneness, recorded in 1976 with Jay Young replacing Douglas Nelson on bass.

The album departs from prior rock and vocal elements, centering instead on extended ensemble instrumentals structured around repetition, phrase displacement, and ensemble unison. Across its runtime, the material sustains a consistent tonal focus with minimal structural contrast.

All compositions are credited to Gregg Inhofer, Dale Strength, Bernard Pershey, and Jay Young.

The opening track, “Opening (& or Closing) Venusian Blinds,” includes the album’s only vocal passage and closes with a rapid rhythmic shift. “Sweet Pea” and “Whose Nose” focus on pulse and phrasing, while shorter pieces like “What am I Looking For?” and “Ostinato” serve as transitional interludes. “The Big U” closes the album with an extended progression of incremental variation.

A1. “Opening (& or Closing) Venusian Blinds” (9:06) – only track with vocals; ends with rapid final section
A2. “Sweet Pea” (5:43) – streamlined instrumental with funk inflection
A3. “Whose Nose” (8:04) – moderate tempo; emphasizes ensemble interaction
A4. “The Light” (6:56) – dark-toned mid-length instrumental
B1. “Pittsburgh Pie” (5:52) – open-form arrangement
B2. “What am I Looking For?” (2:34) – brief, introspective interlude
B3. “For That This Is” (5:57) – mid-tempo passage
B4. “Ostinato” (4:00) – repeated rhythmic figure
B5. “Kamau” (5:20) – moderate pace; emphasizes phrasing
B6. “The Big U” (8:34) – album-length closer with subtle structural variation

Sessions occurred in 1976 with no formal studio or production credits noted.

Postlude

All three albums were reissued together in 2023 under the title The (Untold) Story of thisOneness, with new covers for the two previously vaulted albums. The box includes liner notes by Gregg Inhofer and reflections from surviving band members.

In 1980, Gregg Inhofer surfaced in The Tremblers, an LA-based pop-rock band with onetime Herman’s Hermits frontman Peter Noone. Their album, Twice Nightly, appeared in the US on Johnston Records and abroad on Epic.

Discography: