01. El caminant nocturn (8:21) 02. Càntics de la carn (11:18) 03. Riu d'agost (7:41) 04. Embrujo (6:14) 05. Crisàlide (6:30)
Joaquín "Max" Sunyer / electric & acoustic guitars José "Kitflus" Mas / piano, electric piano, synthesizer Primitivo Sancho / bass Jordi Colomer / drums
Here's another unjustly overlooked band that never received the wider attention it deserved, a victim of geographic isolation (despite their English name, the group hailed from northeast Spain), or maybe the fierce competition between likeminded musicians for a loyal but dwindling fan base in the late 1970s.
ICEBERG played instrumental Fusion in the spirit of early MAHAVISHNU ORCHESTRA, but Jazz Rock is too mild a term for the type of music on tap here. This is Fusion more akin to Edward Teller's Cold War fantasies: a Latin-flavored thermonuclear warhead able to detonate a musical fireball bigger than the one that vaporized Bikini Atoll in 1946. All right, so that's a tacky analogy, but you get the point: these guys had serious chops.
The quartet was led by guitarist Max Suñé, playing with a passion and skill equal to any guitar hero of his time. He could solo with the pinpoint precision and white-lightning speed of Al DiMeola (always the yardstick used to measure any Fusion axe-man in the 1970s), but favored a raw, emotional guitar tone more reminiscent of "Birds of Fire" era John McLaughlin. Match this with the virtuoso mini-moog runs of Josep Mas and the results could turn even the most unlikely time signature into a thrilling, and often surprisingly graceful, adventure.
Listen to the guitar and keyboards trading solo spots during "El Caminant Nocturn", a song almost guaranteed to blow your socks off and dry-clean them in mid-flight. Or the 11-minute "Càntics de la Carn", another album highlight, beginning with a furious percussion workout under which Primitivo Sanchez (the name makes him sound like a Catalan punk rocker) lays down a speedy flamenco bass line for Suñé and Mas to race across in perfect stop/start unison.
The homegrown Spanish influence surfaces even more strongly on the remaining tracks, adding the warmer textures of acoustic guitar and piano but sounding no less dynamic than the earlier all-electric salvos. My only complaint is with the unresolved fade-out at the tail of the curtain closer "Crisàlide" (and in the middle of another monster Suñé solo too!). But in retrospect it's probably fitting that the band's last studio album should end this way, giving the impression that they never really stopped playing.that maybe someday, on another album, they might simply flip a switch and continue the same track right where it left off here.
01. Oh! Un ánec simfónic / Ones (17:40) 02. Cançó per qualsevol orquestra (7:30) 03. Históries (10:54)
Jordi Colomer / drums Josep "Kitflus" Mas / electric piano, synthesizers Primitivo Sancho / bass Joaquim "Max" Suñe / electric guitar
I must admit it seems strange to me to release a live album that is only 35 minutes long, but apparently they only wanted to release the live songs that weren't on any of their studio albums. So we get three long tracks.This was recorded live in Madrid and released in 1978. It doesn't measure up to the studio albums "Coses Nostres" or "Sentiments" but there's enough here to warrrant a low 4 star rating in my opinion.The guitar and keyboards are the focus as usual with this band and they certainly do not disappoint on this one.The album cover appeals to me as well.
"Oh ! Un Anec Simfonic Ones" is the almost 18 minute opener.The home crowd can be heard cheering wildly as the album starts. It then turns quiet as the guitar comes in followed by bass, drums then synths.This actually reminds me of BRAND X here. A calm after 2 1/2 minutes as the piano leads.You can hear the crowd cheering in the background.The sound builds and this does sound pretty amazing. Love the guitar. Another calm with synths before 7 1/2 minutes as the crowd noise becomes evident once again. It builds and we get some ripping guitar 8 1/2 minutes in then it's like the song ends but then they start up again with a different melody before 10 1/2 minutes.This is more laid back.It settles more 12 minutes in then the guitar starts to light it up 13 1/2 minutes in. It settles back again 15 1/2 minutes in.Great tune !
"Canco Per Qualsevol Orquestra" has a bit of a funky rhythm to it. Piano before 2 minutes then the guitar leads. Piano is back as they take turns leading.
"Histories" is the almost 11 minute closer.This actually reminds me most of what I like about this band. Cheering to start then atmosphere with piano to for about a minute, then the guitar and drums kick in hard. Great sound here. Synths to the fore at 4 minutes.The guitar is back after 5 1/2 minutes and he proceeds to rip it up. A calm after 8 minutes with atmosphere then it kicks back in again. It ends before 10 minutes but then they return for a short piece that seems to end abruptly.
Just simply some killer playing on this one and it's cool to hear these new tracks as well.
First and last Iceberg live album, but this is not your ordinary live release, cause all tracks are previously unreleased.Recorded early in 1978, this is explosive Jazz Fusion, as we already know the band could perform, opening with an 18-min. sidelong period Fusion opus, featuring smoking electric guitar and quirky synth, but also some annoying funky clavinet.The guitar solos are pretty excellent.''Canco per qualsevol orquestra'' is rather mediocre Jazz/Blues Rock with emphasis on long guitar/piano solos and happy beats, while the 11-min. closer is really fiery Jazz Fusion in fast paces, where the Latin vibes of the band come in evidence.This should be in the possession of all those loving dense and virtuosic Jazz Fusion.
01. Sentiments (1:50) 02. Andalusia, Andalusia (5:37) 03. A Sevilla (5:13) 04. Ball De Les Fulles (5:30) 05. Magic (6:23) 06. Joguines (3:00) 07. Alegries Del Mediterrani (9:17)
Joaquín "Max" Sunyer / electric & acoustic guitars José "Kitflus" Mas / piano, electric piano, synthesizer, clarinet Primitivo Sancho / bass Jordi Colomer / drums
After the superb Coses Nostres, how can one follow up and still appear as on top of their game? Iceberg found the easy (but not so obvious) answer, to make another superb album, and believe me they did. The album actually veers a bit more jazzy in the fusion sense sometimes approaching the over-demonstrative Return To Forever or even a bit Weather Report and still the better Santana (Caravanserai) and Mahavishnu Orchestra. Some moments are so powerful that I cannot help but thinking of Journey's superb jazz-rock debut album with the incredible Ainsley Dunbar on drums.
Right from the opening title track, you know this album will strike all the rights chords if you like the above-mentioned bands, and the Spanish feel is present but nothing obtrusive (hardly any flamenco hints, but more of Rodrigo (Aranjuez) feel. Again Sunyer and Mas take the stage by storm, but the rhythm section is really on top of its game. The only small gripe I might have is that the synths sounds are a bit more "modern", but at least on this album they have been correctly reproduced during the CD transcript. To separate one track and raise it above the rest is simply impossible to this reviewer, because the album is incredibly even, with maybe Magic a bit under par. However, if I must name just one track, listen to the closer Alegries Del Mediterraneo.
Another excellent album by Iceberg. I think this is their best, better than previous one and better than next one, with some influences from early Mahavishnu Orchestra but not a copy. All the pieces are really incredible, with a stunning duel between guitar and keys, specially moog. In every track Kitflus and Sunyé develop their skills at the maximum, proving that they are among the best in jazz. Anyway a very enjoyble album. Iceberg here can fight with any giant band from the '70's in jazz. A smoking album, just as excellent as the previous Coses Nostres but better rated because of no avoidable sound flaws. Among my top 40 jazz-rock albums. Recommended.
01. Preludi I record (2:14) 02. Nova (musica de la Llum) (8:56) 03. L'acustica (referencia d'un canvi interior) (9:10) 04. La d'en Kitflus (6:49) 05. La flamenca electrica (5:56) 06. A Valencia (8:45) 07. 11/8 (Manifest de la follia) (6:54)
Joaquín "Max" Sunyer / electric & acoustic guitars José "Kitflus" Mas / piano, electric piano, synthesizer Primitivo Sancho / bass Jordi Colomer / drums
Under this Mafiosi title comes one of the better jazz rock fusion albums from Spain (at least among the few I know), the second one from this mid to late-70's Catalan band. Gone is their frontman sax and singer Angel Riba and they are down to your standard prog quartet, but this hardly seem to stop them, quite the opposite, becoming entirely instrumental.
For the most part this album seems to be lost between Maha's Inner Mounting Flame and Santana's Caravanserai with some KB coming more from Weather Report and RTF or even Jan Hammer, but this is more due to the instruments chosen than the actual playing, although some guitars are a cross of De Lucia and Di Miola on one side and McLaughlin on the other. I think this sets you with a good idea of the sound of the album, if you want more get the album, you.....proghead! ;-)
The first side is really awesome in musical execution with some particularly astounding moments where you'd swear Nova (as well as its prelude) should be on Inner Mounting Flame or on Cobham's Spectrum, simply because the playing and writing are of the same quality. Acustica, as its names suggest, is much calmer and tamer (but valid only for the guitar since there are synths halfway through) although the incredibly high quality is maintained and the subtle flamenco and Catalan influences appear towards the very end. The remark that my colleague reviewer makes about the sound quality is unfortunately correct, although the first side of the record is relatively spared.
Kitflus brings us back to the Mahavishnu world and the second track and only congas are missing to take us into the Sahara Caravans of Santana. Flamenca Electrica is an aptly named track but is only taking the usual formula and adding some Andalusian feeling to it. The last track is... you guessed it in 11/8 (which does not mean it was recorded on August 11, you wisearses).
Since this record only exist in CD form under this version, I knock off almost one star because of the inexcusable sound problems, which unfortunately does ruin the enjoyment of an otherwise superb record. Sounds a bit severe? Check it out for yourselves if you do not believe me!!! As soon as I find the vinyl or a re-issue, I will jump on it.
This excellent Spanish four piece band delivers outstanding, very melodic instrumental music in the realm of the jazzrock along some fusion. You will be carried away by the seven dynamic compositions with lots of interesting musical ideas: fiery guitar, swinging bass, subtle Fender Rhodes electric piano and sensational Minimoog flights in Preludi I Record, a strong Andalusian undertone, captivating shifting moods and spectacular wah-wah guitar and dazzling Minimoog runs in Nova, John McLaughlin inspired acoustic guitar and swinging jazzy piano in L'Acustica, flashy synthesizer flights, fiery electric guitar in the songs and an amazing rhythm-section in the songs La D'En Kitflus and 11-8 and an exciting pitchbend- driven Minimoog solo in the mellow A Valencia. My highlight is the song La Flamenca Electrica (Prog Andaluz!): first soaring keyboards and strong clavinet runs, then a swinging rhythm with strong Andalusian undertones featuring spectacular work on guitar and keyboards. If you like jazzrock, this band should be yours!
01. Tebas (1:16) 02. Prologo (3:08) 03. Sacerdotes de Amon (2:53) 04. Amarna (2:56) 05. Lying on the sand (5:27) 06. Amenofis IV (3:05) 07. Himno al sol (4:35) 08. La muerte (4:19) 09. Close to God (4:08) 10. Too young to be a Pharaoh (3:35) 11. Tebas (reprise) (1:49)
Ángel Riba / vocals, saxophone Joaquín "Max" Sunyer / electric guitar José "Kitflus" Mas / electric piano, organ, synthesizers, Mellotron Primitivo Sancho / bass Jordi Colomer / drums
Iceberg is one of my favorite spanish bands, and this album is just great. If you like fusion, symphonic prog, concept albums and most importantly Yes, you will love it. The only complaint that I have is that the lyrics are in both english and spanish, which is a little bit anoying (at least for me)... but musically it is a very well composed and performed album.
The album presents a band starting to experiment with various influences and the concept album format. So what you get is sort of a mix between Yes and John McLaughlin. Although not very original, this is the band's first step in their search for their own sound: flamenco jazz-rock/fusion, which they will finally develop in Coses Nostres.
The storyline and lyrics of the album are centered around the historical moment and life of the Egyptian pharaoh Tutankhamen. The story is very accurate from the historic point of view and the lyrics are beautiful and well written (both in Spanish and English)
The album starts with Tebas a great introduction to the album showcasing a symphonic sound close to Yes', specially the guitar. The lyrics start with Prologo (prologue), in Spanish, introducing the historic and social context of Egypt before Tutankhamen in a very effective and accurate way (+ the singer is very talented and pleasant), while musically the highlights are the guitar (very similar to Steve Howe), the jazzy keyboards and the percussions.
Sacerdotes de Amon continues with the same mood of the first tracks while continues with the storyline.
Amarna is a more eclectic instrumental track still led by the guitar but with outstanding percussions and a pleasant atmosphere generated by the mellotron.
Lying on the Sand is the first track with English lyrics and not completely dominated by the guitar, so we have a chance to admire the great work of the keyboardist with the mellotron, piano and, specially, the Rhodes with a great jazzy solo. Added to that we can still appreciate the talents of the guitarist, percussionist and singer, although the last one has a bit of an accent which is passable.
Amenofis IV is an instrumental fusion jam and a team work, in contrast with the previous guitar dominated tracks. Every musician shows his talent and how well the band can work together.
Himno al Sol is a very jazzy song while being at the same time symphonic in the style of Yes' Relayer and the lyrics are in Spanish again. One thing that bothers me is the obvious Yes ripoff by quoting a guitar riff from Siberian Khatru several times.
La Muerte is a great jazzy/symphonic instrumental track featuring an amazing (and a bit too long) drum solo.
Close to God is a quieter track with more English lyrics, very close to a ballad with a jazzy instrumental background (it remembers me some Colosseum II tracks).
Too Young to be a Pharaoh is the "heaviest" track of the album with some more guitar soloing ala Howe and very dynamic vocals (in English). Another highlight of the song is the drumming (Jordi Colomer is definitively very talented).
Tebas (reprise) is the best way of closing a concept album, quoting some of the themes of the previous tracks and closing magnificently with a guitar solo.
This is sort of a Yes clone album with jazzy overtones but the band will later evolve in their own particular style, which will prove to be very original and not really close to Yes' sound (more in a flamenco/jazz-rock direction...something noticeable in some sections of Tutankhamon).
I really recommend this album to those who search for that feeling of really authentic prog rock which can only (or mostly) be found in the 70's. This is the debut album by this spanish band and their most symphonic-rock one, with emphasis on "rock". After Tutankhamon they would loose singer Angel Riba and their music became instrumental and more fusion oriented (still great btw).
Rock came late in Spain due to the dictatorship of general Franco, and therefore this album although dating from '75 sounds in many ways as earlier records from the UK (american rock was not much influential in Spain at that time). As with many 70's records what is lovely here is the sense of authenticity. It was still too early to talk about influences, genres, clones and things like that, as we excessively do today. The guys simply did what felt right to them at the time, and there and then this happened to be simply wonderful music.
The core of Iceberg were keyboardist Josep "Kitflus" Mas and guitarist Max Sunye, both coming from a jazz environment, but the times were prone for symphonic rock and they embraced the genre eagerly, resulting in a delighful album which blens symphonic, jazz- fusion, still a few atmospheric psychedelic traces and pure 70's rock. This is not symphonic similar to the big ones Genesis, Yes, ELP, Floyd etc.This is authentically personal music, not trying to copy anybody. No long suites, no excessive focus on virtuosity, no bombastic feeling, just simply great music.
It's a concept album about the famous pharaoh although it does not tell a specific storyline but just assorted themes around his figure. It's sung half in spanish half in english and unfortunately the voice is not the strong point, but the composition and instrumental work more than compensate for it.
The starter "Tebas" is a great short instrumental overture, reminds me somehow of the wonderful debut album of Ted Rundgren's Utopia. "Prologo" has a delightful 5/4 jazzy time signature and much wah-wah guitar, very 70's. "Sacerdotes de Amon" starts with a hard guitar riff but soon shifts to more atmospheric moods. "Amarna" is an instrumental delight of that sort you think that it could only be made in the 70's. "Lying on the sand" is a great slow-mid tempo song again mixing rock with jazzy elements. "Amenofis IV" is instrumental, again a beautiful sample of what the unadelturated mood of the times could produce. "Himno al Sol" has a great 7/4 ? 3/4 rhythm. "La muerte" contains a drum solo as was the fashion in those times, although not too long and not by any means the best in the song, the short fragments where all the instruments play are awesome. "Close to God" is a more pop song, very melodic with great Rhodes piano and wah-wah guitar. If only all pop songs were like this. "Too young to be a pharaoh" is hard-rock-prog at its best, and the reprise of the opening "Tebas" puts the symphonic cherry on the cake.
Again, this is not Genesis, Yes, ELP or PFM. This is more jazz-rock-oriented prog, the voice is not great and the production is improvable by today's standards, but this is really wonderful authentic music very worth knowing about for a prog fan.
Iceberg's Tutankhamon is an enjoyable listen that is both truly unique while sometimes also falling into some of the same problems I've encountered with other foreign prog. The main sound here is jazzy symphonic prog and for most of the album the band is engrossed in trying to balance their jazzier improvisational tendencies with a more melodic and straight forward symphonic prog palette. This is where the album falls apart at times for me, when they try and embrace the jazz-rock side of things they meander along with no clear compositional theme but when there are clearly defined melodies they shine. Other than this gripe, the album was quite pleasant: vocals were competent and performances were fairly tight.
Cuarto Menguante came from Sevilla and this was yet another Spanish combo to play along the lines of Andalusian Rock.They were formed in 1978 by Paco Urizal (guitar, vocals), formerly a lyricist for the Hard Rock band Storm, Pedro Castro (percussion), Pedro Menchen (bass), Jesus Jimenez (drums, ex-Los Brios) and Valentin Ponce (guitar, vocals).They released their debut album ''Rompehielos'' in 1980 on Movieplay.
These Spanish musicians offer two different sides of performance: The first one relies on a smooth, melancholic and ultra-sensitive lyricism with dominant acoustic guitars, soft percussion and relaxed bass lines, offering pieces heard like poems.Even these cuts contain sparse electric bursts with a mellow approach, but at the end they sound more like ballads than rock pieces.The second one, which is definitely more interesting, follows the principles set by acts such as ALAMEDA and GUADALQUIVIR, albeit with less interplays.Extended instrumental tracks with jazzy underlines and Flamenco-styled melodies, based on good breaks and tight executions, often with a few funky overtones but always highlighted by the fine guitar work of the Urizal/Ponce.
This was the record that put Medina Azahara (from the Andalusian towen Córdoba) on the Spanish rock map. This namesake debut follows the path of many other Andalusian bands, a symphonic progressive heavily infused with Flamenco colours, but unlike the jazzy guys of Guadalquivir, the Camelesque Cai, and the Pink Floydian Triana, Medina Azahara gave preferential space to the ways of hard sounding art rock (not without its notable progressive touches, of course). The electric guitar is the prominent instrument here, with a solid rhythm section supporting its riffs as well as the symphonic textures played on keyboards. Martínez's vocal style and timbre is very hard-rock oriented, though its most norable feature is that typical Flamenco overwhelming passion. The opening track was also the first single, a huge hit in the whole country (its catchy introductory riff even served as background music for a bunch of radio and TV programs), keeping the commercial success of Southern Spanish prog a bit longer (just a nit, before its impending decline). Though their music is not as complex as Cai's, Mezquita's or Triana's, these guys sure can expand creatively on their own musical ideas and recycle the evocative nature of melodic Flamenco through an ambitious rock filter. Their compositional efforts reach a peak of progressive creativity and emotional richness in tracks 1 (the aforementioned banner 'Paseando por la Mezquita'), 3 ( 'Hacia Tí', more symphonic a-la classic Yes and less Flamenco), as well as the lat 3 numbers, in which the band really approaches the exuberant complexity of their neighbours Mezquita. 'Amiga' and 'Sé' keep a special folkish flavour among the hard rocking sounds of guitar an keyboard soloing and harmonies on a solid rhythm pace, with a lead singer that never gest tired of wearing his heart on his sleeve with every word, every verse, every chorus; 'Recuerdos del Ayer' remains consistently engaged to beauty, althoug with a slightly decreased Flamenco flavour. An excellent musical work that was destined never to be surpassed or even equalled by the band in their following reordings: though not a masterpiece, "Medina Azahara" is really worth adding in any good collection of Spanish prog... or prog, in general.
One of the 3 pillars of the Rock Andaluz scene of the mid to late 1970's, Medina Azahara's debut is filled with the energy of southern Spain. Great fuzzy tones and an urgency similar to Mezquita, and the passionate Arabian vocals recall Triana at their very best. 'Hacia' Ti' is the 5 star highlight, but 'En la Manana' and the closing two tracks are in the running. A brilliant album throughout.
01. Aires de Alameda (4:20) 02. La Pila del Patio (2:33) 03. Ojos de Triste Llanto (4:11) 04. Hacia El Alba (5:40) 05. Amanecer En El Puerto (6:36) 06. A la vera Del "Jueves" (4:10) 07. Matices (6:19)
José Roca / guitars, vocals Manuel Marinelli / keyboards Rafael Marinelli / keyboards Manuel Rosa / bass Luis Moreno / drums
Enrique De Melchor / flamenco guitar (2,3) Luis Cobo "Manglis" / guitar solo (6)
Formed by five sessions musicians (a couple of them, recurrent collaborators for Triana, while keyboardsman Rafael Marinelli assisted Guadalquivir on piano duties), Alameda turned out to be one of the most refined cases of symphonic prog with a strong Flamenco essence. Their own country's musical press hurried at pointing them as a Triana-clone band, but the fact is that the similarities are only partial. Their refinement didn't get them as far as to equal that amazing magic that Mezquita, Cai and Imán provided to the listener through their astonishing albums, that's true; yet, Alameda's music remains a consistent exposure of Flamenco-tinged romanticism and texturial elegance, all of it seasoned with Latin-jazz inspired flavours every now and then. The fact that the two Marinelli brothers were in charge of keyboards (grand and electric pianos, synthesizers and some clavinet) makes the repertoire enhance its melodic aspect, as well as retain an unmistakable sense of exquisiteness. That becomes clear from the opening track: 'Aires de la Alameda' is a flow of pure musical magic focused on the orchestrations, harmonic leads and layers created on the dual keyboards' input. It's a pity that the fade-out comes too soon: its 4:20 duration feels really too short, especially when you come to realize that guitarist-lead singer José Roca has the most beautiful voice of Flamenco-based prog. It's really true that a well performed and genuinely emotional singing makes the mastery of language a trivial issue: you don't need to speak Spanish to feel touched by the song's structural emotion. The same goes for the album's summit track, 'Amanecer en el Puerto'. This is perhaps the band's most emblematic song in their whole career. Starting with a sonic portrait of a deck (including sound effects of water flowing and seagulls softly screaming) in a subtly mysterious way, the mood changes for the main section, a beautiful celebration for a new era (perhaps the advent of democracy in Spain? I don't know). The continuing piano washes perfectly complement the synthesizers' harmonies and leads, while the rhythm section sustains the overall sound with accurate precision. The most intense side of Alameda is shown in those numbers instilled with obvious Latin-jazz references: those are 'Hacia el Alba', 'Matices' (a great closure) and the instrumental 'A La Veradel 'Jueves'' (featuring "Manglis" from Guadalquivir as a guest lead guitarist). It seems as if the romantic side of Roca's musical ideas were as strong as to lead the band through the path of melancholy, so the adequate counterpart had to come from a more essentially joyful musical source - and joy is what Latin-jazz is mainly al about. These aforementioned tracks are the ones in which the musician's technical abilities become more obvious, since the ambience is set to demand a more thorough use of colorfulness in the instrumentation. There is another instrumental in this album: track 2 'La Pila del Patio' is sheer Flamenco-fusion (hand clapping included), something that might have appeared in any Guadalquivir album with a different instrumentation. Track 3 is really moving, and the only song based on a Flamenco guitar duet [leads played by guest Enrique Melchor], with a subdued keyboard role. The lyrics, passionately and hauntingly sung by Roca, portray an overwhelming oath of loving care and devotion. This is the closest that Alameda gets to traditional standardized Flamenco: a breeze of simplicity among a forest of tastefully adorned stylization. In conclusion: Alameda's debut album, while not genius, is well structured, full of attractive melodic ideas and skillful performances. [I dedicate this review to the memory of Manuel Marinelli].
Alameda were part of the 70's Andalusian Rock movement in Spain.They came from Sevilla and were led by Marinelli brothers, keyboardists Rafael and Manuel, along with guitarist/singer Jose Roca (Jose and Rafael played formerly with Tartessos), bassist Manuel Rosa and drummer Luis Moreno.With a demo out in 1978 they searched for a contract, eventually signing with CBS and releasing their self-titled debut in 1979 (under the Epic Records name).Their sound was no more or less than romantic Andalusian Rock with Latin Jazz/Fusion influences, based on pleasant vocal harmonies and the dual keyboard work of Marinelli brothers.The tracks are characterized by Flamenco-flavored pleasant melodies, led by the pianos and the flamenco guitars of Rosa, partially mixed with the strong moog synthesizers and supported by a tight rhythm section.There is a very calm and positive atmosphere throughout the album, lacking the intensity of Triana, though their sound is fairly comparable.As the album unfolds the tracks obtain an evident Fusion edge with good interplays, strong synth work and an uptempo rhythm section, filled with some nice solos.The instrumental parts are decent, well-executed and performed, but the compositions lack a real depth to say the least.''Alameda'' belongs among the good albums of the movement, energetic, fast-paced and rhythmic Andalsusian Fusion/Rock with decent individual performances and fine vocals, despite lacking a monster track.
Although Borne hailed from Barcelona, they played Andalusian-styled Jazz Fusion with some IMAN CALIFATO INDENDIENTE similarities, having a gifted guitarist onboard along with an accurate rhythm section and a manic keyboardist (basically performing electric piano and synthesizers).Music has pinches of melody and high archs of technique with atmospheric sequences and mad, fast-paced grooves with some incredible guitar and keyboard soli as well as some sporadic funky vibes.Very good stuff.Their second 82' album ''Unidades didácticas'' was much more into New Wave realms.
This debut album by Spanish prog-fusion outfit Borne ticks all the boxes: furious bass and drum riffing, wailing Moog solos and snarling, Mahavishnu-like electric guitar, touching along the way on latin vamps, languid funk and even some four-to-the-floor heavy swing. But the boys from Barcelona still managed to inject their own flavours: guitarist Victor Molero throws out plenty of Iberian flourishes and, on ‘Rumbacústica’, switches to acoustic for a genuine flamenco feel; and keyboardist Ricardo Rauet smothers the proceedings in lush and luxuriant synths evoking a poolside cocktail on a hot, sultry evening.
Interesting that I've been absorbing tons of American jazz funk and fusion, when along comes this old chestnut from Spain. This isn't my first encounter with the album, as I was introduced to it when I first discovered (back in the early 90s) bands such as Iceberg, Ananga Ranga (Portugal), Secta Sonica, Musica Urbana, Companyia Electrica Dharma, and many others. It was too much at once, and many of them didn't make the first cut. Today, I hear this album with a different perspective. One that combines the aforementioned American fusion scene with that of Spanish culture. It's a winning combination, and Borne balances those two aspirations expertly. In particular, guitarist Victor Molero is enjoying the spotlight, and his rougher edged solos are much welcomed in an oftentimes all too sterile genre. It's not unfair to suggest Borne has tapped into the same well as Al Di Meola did on his classic first 3 albums. To American eyes, seeing the cover and a title that looks like something esoteric such as "Experimental Orange", it's a bit disappointing to learn that it simply means "squeeze the orange". OK. In any case, essential listening for all fusion fans who appreciate an edge, along with some indigenous melodies and sounds.
01. Опасная Игра = A Dangerous Game13:15 02. Дерево = The Tree8:45 03. Сюита Ля Бемоль Мажор = Suite In A-Flat Major11:50 04. Башня Из Слоновой Кости = Ivory Tower9:57
Bass Guitar – Victor Zaikin Drums – Vasyl Izyumchenko
Drums – Stanislav Korostelev Guitar – Vitaly Rozenberg Soprano Saxophone, Alto Saxophone – Alexey Kozlov Piano, Organ - Igor Saulsky Trombone – Alexander Horobets Trombone – Vadym Akhmetgareev Trombone – Valery Taushan Trumpet – Anatoli Sizonov Trumpet – Evgeny Pan
ARSENAL, pioneers of jazz-rock in the Soviet Union, is a creature of Alexey (often spelled like Alexei) Kozlov (b. 1935), professional architect and self-taught saxophonist and composer. He played jazz since the 50s, had deep knowledge of its different styles, was a member of numerous bands, participated in jazz festivals in the USSR and abroad (Poland, Czechoslovakia, Hungary) and up to the 70s he had a good reputation in jazz circles. But as open-minded musician he was (and still is) always interested in different music styles. Listening to the music of bands like CHICAGO, MAHAVISHNU ORCHESTRA, BLOOD, SWEET AND TEARS, PINK FLOYD, KING CRIMSON, ELP and others gave him the idea to go in new direction and form a band, capable of playing the fusion of these styles.
According to Alexey Kozlov, he wanted to create a band of virtuosi, who can swing, improvise, have the "feel of the blues" and appreciate different music styles. It was not so easy to find musicians for new band. Most of experienced jazzmen were skeptical about rock and did not consider it serious music. Rock music in the Soviet Union was then in embryonic state and almost totally in underground, even the word "rock" was associated with hostile Western influences. Official equivalent of rock music existed in the form of so-called vocal-instrumental ensembles - professional groups, singing "songs of Soviet composers", without any rebellious spirit, specific to rock. Underground rock musicians were enthusiastic, but they were not able to play complex pieces, many of them even could not read music. The solution came mainly in the face of young Moscow Conservatory and Gnesin's Institute students, whose interests were not restricted by classical music only.
The band was called ARSENAL (there is a play of words - "ars" means "art" in Latin - and, additionally, it was in some way inspired by famous British football team). First ARSENAL rehearsal took place on November, 12, 1973. Initial line-up consisted of 4 singers and brass section, standard rock instruments were used as well. The band began to perform excerpts from Webber - Rice rock-opera "Jesus Christ Superstar", compositions of CHICAGO, BLOOD, SWEET AND TEARS, TOWER OF POWER and music written by Alexey Kozlov - and, obviously, became in the underground. Some records of that era were published only in 2005 on "Underground Arsenal" CD. Ensemble gave occasional concerts (without being paid for them, because it was against the law to get money for gigs if artists are not working in some official concert organization) and intensively rehearsed. Band members combined music with their "main" jobs and studies then.
Situation changed only in 1976, when Kaliningrad Philharmonic invited ARSENAL to constant job and the band became professional even from the official point of view. Ensemble extensively tours different towns and cities of the Soviet Union, takes part in some festivals at home and in East Europe, but is always under pressure of ideological machine - ARSENAL was not allowed to play concerts in Moscow until 1980, the first album, "Arsenal" (aka "Dangerous Game"), recorded in 1977, was published only in 1979.
"A Dangerous Game", the leadoff track from Arsenal's 1979 debut, would not sound out of place as an outtake on an Al Kooper-led Blood Sweat and Tears album. In fact, the Blood Sweat and Tears-Chicago-Chase-James William Guercio effect pervades the album. For fans, that's a great thing. "Suite in F Flat Major" and "An Ivory Tower" are long, extended horn led forays into jazzrock that are truly exciting listens. "An Ivory Tower" is a dynamic highlight. The funky keyboard textures that begin the song give way to moody, desolate sections before exploding at the conclusion.
In all, a worthy addition to the jazzrock-fusion canon - the fact they are Russian is an interesting side note.
