Guadalquivir - 1980 - Camino Del Concierto

Guadalquivir

1980

Camino Del Concierto

01. Camino del Concierto (5:36)
02. Ostalinda (5:08)
03. Flor de Almendro (3:16)
04. Esclavos de la Belleza (7:47)
05. Cartuja (4:02)
06. 121 Hormigas (5:16)
07. El Vuela de una Lagrima (4:03)
08. Noche de Verbena (7:00)

- Luis Cobo / guitar
- Pedro Ontiveros/ saxophone, flute
- Larry Martin / drums
- Andrés Olaegui / guitar
- Jaime Casado / bass
- Javier Mora / keyboards

With:
- Josep Mas / synthesizer

Guadalquivir's second album turns out to be as magnificent and beautiful as their impressive debut recording, if only with a more polished sound production and a more colorful sonic palette - the latter factor was achieved due to the use of a number of occasional guests on additional percussion, horns and synthesizer (Josep Mas, from Iceberg, delivers some amazing solos for two tracks). The namesake opening track is very soft, evocative, with a pleasant jazz-pop feel in it. 'Ostalinda' and 'Esclavos de la Belleza' are the most similar to the first album's overall vibe, and indeed, they are outstanding highlights of this album; between the two, the 3-minute 'Flor de Almendro' (performed on 2 acoustic guitars and flute) serves as a serene interlude that fills the air with melancholic nuances. So far, so good, and as we keep on going through the second half of "Camino del Concierto", things continue to be quite exciting. 'Cartuja' and '121 Hormigas' are catchy, joyful numbers constructed under a Flamenco-meets Latin jazz frame, a strategy that is enhanced further in the more joyful closure 'Noche de Verbena'. On the other hand, 'El Vuelo de una Lágrima' pays an accurate homage to its title ('A Tear's Flight') with its languid cadence: a special mention goes to the soaring guitar solo that starts at 1:30, which helps to create the track's overall spirit. As usual, the rhythm section delivers a terrific job, which is especially splendid on tracks 4, 6 & 8. Generally speaking, "Camino del Concierto" is not as excellent as its antecessor, but it still deserves to be labeled as better than 'simply good': Guadalquivir's ability to create captivating melodies and refurbish them with clever arrangements remain intact, and so does their capacity to recycle that old Flamenco magic with their solid interplaying. This album is another winner from the history of Spanish progressive rock and jazz fusion.