Let us stay for a spell in the jazz-rock mode, as it is not always as prolific lately as the other prog genres; they need some TLC as well. This Spanish outfit from El Ferrol in the Northwest sent me this album for review, and I have given it sufficient spins to analyze all the particularities that may be of interest to my devoted readers. Almost 40 minutes, it’s a well-rounded group effort that should rock more than a few boats in the community, as it is getting rave reviews from all over the world. Alvaro Fernandez handles the bass instruments, namely saxophones and flute, guitarist Gabriel Visinel, bass player Andres Real , keyboardist Hugo Martsan and Angel Rodriguez on the drums round out the band. While staying true to their jazz roots, the creative onus is not only on technical merit but also on artistic impression (as they say in figure skating). Yes, the playing is exceptional intricate and expertly rendered but there is an overt sense of a more progressive inspiration, as if mood and atmosphere are equal in importance.
“Buratos” , the opening track clearly demonstrates their attitude towards their craft, as the 8 minute + piece travels through a wide variety of moods, without straying too far into experimental sonorities that might jar the ear. The arrangements are always exceedingly attractive, Hugo and Alvaro are particularly adept at showing their talents, while Gabriel prefers to bolster the agile rhythm section, so as to provide a solid foundation for the saxophones and synthesizers to display their explosive traits. The extended synth solo is stunning, very much in the Allan Zavod (JL Ponty) vein while the sax blurt is full of bristling expressions, a section with complex interweaving lines that elicits a burly bass flourish that comes very handy indeed, the piano and drums driving hard and fast. A magnificent introduction.
The piano introduces the lively “Flavours of Failure”, a welcome flute emerging from the ivory ripples, the sax content to underline the catty theme, though this is a technically challenging arrangement. It also has a distinct Spanish feel, warm and effusive, at times, I was caught imagining a flamenco-like dance. The final section gets quite intricate as the theme is repeated one more time for good measure.
Gabriel finally gets to shine on the Crimsonesque “Helix”, laying down a methodical pattern that would make Robert smile (he does, on occasion), as well as letting loose with an ingenious six string dialogue that twists and turns with frazzled verve, a frenetic bass undertow only serves to let Alvaro blare like a siren, as well kudos for Angel who pounds mightily along. And yet, the elegant piano was there all along, a guiding light across the misty bay, looking out for the nearby ships.
Perhaps the finest piece here, “Methods of Expression” has all the hallmarks of a classic slice of modern jazz-rock, the vitality of the keyboard work in particular veering on magical, Hugo channeling Chick Corea’s versatility and illustration on piano, a faultless companion for Alvaro’s seductive brass intrusions and a short bass run, reminding us that Andres surely can play brilliantly. Gabriel peels off a succinct solo, very clean, fast and classic jazz, as the mood veers into a darker realm of sonorities. Musical tapas.
The French say ‘finishing with beauty’ is always a good idea, a lasting impression that requires appreciative reflection, and “Second Nature” certainly provides a breezy final touch, all subtlety and charm, a welcome curtain call that bodes well for the future. The keyboard promenade takes on all kinds of tonalities, from whistling synthesizer flurries to funky e-piano moves, challenging both the electric guitar and the saxes to exult in a sultry mode.
Another winner for the fusion side of 2025, looking forward to hearing more in the future.
4.5 Galician lighthouses