Fusioon - 1972 - Fusioon

Fusioon

1972

Fusioon

01. Danza Del Molinero (4:33)
02. Ya Se Van Los Pastores(5:16)
03. Ses Porqueres (3:13)
04. Pavana Espanola (3:01)
05. Negra Sombra (3:44)
06. En El Puerto De Pajares (4:13)
07. Rima Infantil (3:37)
08. El Cant Del Ocells (4:15)

Santi Arisa / drums
Marti Brunet / guitar, synthesizers
Jordi Camp / bass

Manel Camp / piano, keyboards

This is a Spanish quartet from Barcelona featuring Manuel Camp (piano and keyboards), Jordi Camp (bass), Santi Arisa (drums) and Marti Brunet (electric guitars and synthesizers). In the first half of the Seventies FUSIOON released three albums entitled "Fusioon I" (1972), "Fusioon II" (1974) and "Minorisa" (1975).

The first album FUSIOON contains arrangements from 'traditionals'. It sounds like a tasteful stew with classical, folk, jazz and symphonic elements. The songs has echoes from KING CRIMSON (Fripperian guitar), FOCUS (flute) and Le ORME/EKSEPTION/ELP (Hammond organ) but the musical ideas are great and the musicians play strong with many surprising breaks and exciting solos and interplay. The highlight is "Danza del molinero" (Manual de Falla) with sparkling piano, a tight rhythm-section, an Andalusian sounding violin, fiery electric guitar and powerful Hammond waves, culminating in a grand finale. The second LP II has a more symphonic sound, especially the Keith EMERSON-like Hammond, Moog - and pianoplay is very prominent but I can also trace GENTLE GIANT (guitar/piano interplay and some vocal harmonies). An alternating and interesting album .

Their best effort is the third record entitled "Minorisa", containing three long tracks. The first two are an amazing blend of KING CRIMSON, GENTLE GIANT, ELP and even TANGERINE DREAM (flute-Mellotron like the "Phaedra"-era) with lots of captivating musical moments, lush keyboards and strong interplay (guitar, keyboards, flute, bass). The third song is a maverick: a kind of sound collage, very electronic like TANGERINE DREAM, SYNERGY and Klaus SCHULZE with flute Mellotron, all kind of synthesizer sounds and fat Moog runs, a bit weird and not really satisfying end of this good album.

One of those artwork sleeves that symbolize the music style best, but this is doubled by the band's name - the other one that does equally good is Nucleus's Elastic Rock recorded almost three years before. The first chapter of this standard prog quartet with the Camp brothers at bass and KB is actually fairly accessible (well compared to the other two later albums) and IMHO, is maybe the one I prefer because of its naiveté.

This record is a mostly instrumental one (a few scatting one the opening track), but this does not hamper the enjoyment of the music: they have a fairly unique sound and the music has some very subtle Spanish overtones but not in the Flamenco realm. Their sound oscillates between Isotope, Wigwam (the Gustavson and Pohjola compositions), Focus or Finch, Sloche (or fellow Quebecois Maneige) and countrymen Iceberg. If the jazz colours are the main characteristics of the album, the classical influences peak here and there, most notably in Negra Sombra (Dark Black). Apparently all of the tracks are covers of traditional songs (6 of 8 tracks) all adapted/arranged by Manel Camp and the other two being penned by other writers. The odd flute, sax and clarinet (actually un-credited) but drummer Arisa is the one playing them (says D-E Asbjornsen) and bring touches of brilliance. The superb piano may even ring reminiscence of Chilean Los Jaivas in their more symphonic moments and with the organs, ELP comes to mind.

In order to please the audiences the Spanish / Catalan outfit Fusioon mixes catchy regional melodies with a Soft Machine like jazz-prog sound, but with more classical leanings. The result is a high-tempo prog record with melodies to lean in, whilst the band does some amazing exploration of psychedelic tinged instrumental prog with organ, guitar, bass and drums. There are also parts with strings. To me it all sounds very well though out, every theme being a launchpad for the next energetic part. By frequently revisiting the main melody it all stays grounded and musical; almost a bit like the more famous Focus songs. For me this is a perfect record; there's no weaker moment and the band stays in high gear throughout. A killer early seventies sound as well.