TRIANA is the most legendary progressive rockband in Spain. Their stunning debut-album was a seminal blend of flamenco and progrock and paved the way to flamenco-inspired progrock in Spain, culminating in bands like AZAHAR, CAI, ALAMEDA, QUALDAQUIVIR, MEZQUITA and MEDINA AZAHARA. The story of TRIANA started in Seville, the beating heart of the flamenco. Jesus de la Rosa (keyboards/vocals) was a known musician in the local music scene and he even had international success with "Los Bravos" and their single "Black Is Black". But he wanted to form his own band to make progressive rock, so he recruited Eduardo Rodriquez Rodway (vocals/guitar) and Juan Jose Palacios 'Tele' (drums/percussion). The trio called themselves TRIANA, named after the most traditional part of the town and they moved to Madrid. With some help they were allowed to record their music in a studio with highly advanced equipment. In '74 "Triana" first released a single titled "Bulerias 5x8" (it became a failure) and then the debut album "El Patio" ('75). Unfortunately their flamenco-progrock did little, eventually the album sold 1000 copies. But after a big presentation in Madrid in '76, things started to improve and in '77 the second album "Hijos Del Agobio" came out, followed by the single "Rumor". The emotional lyrics (about hope after the end of general Franco's dictatorship) were embraced by the Spanish youth when the radio started to play "Rumor". TRIANA's music boosted the youth's identity and it gave them a way to show their emotions. And how ironically, TRIANA's music became less progressive while the band became more and more famous. Their third LP "Sombra Y Luz" ('79) sold 300.000 copies and from the fourth album "Encuentro" ('80) TRIANA turned out to be Spain's most popular rockband. Further releases were "Triana" ('81) and "Llego El Dia" ('83) but then the story ended very sad because in '83 Jesus de la Rosa died in a tragic car incident and the other musicians decided to call it a day.The opener on the first album "El Patio Is Abre La Puerta" (almost 10 minutes), it starts with choir-Mellotron, piano and flamenco guitar (tremolo-technique). Then the typical sensitive and skillful flamenco guitar blends with piano and soft synthesizer chords. A fluent and tight rhythm-section carries the music to a powerful acceleration with the typical flamenco vocals, expressive and a bit wailing. The rest of this song contains lots of shifting moods that range from mellow with flamenco guitar and choir-Mellotron to propulsive with powerful drums and howling electric guitar, very moving. Most of the other six compositions are in the vein of "Abre La Puerta": beautiful shifting climates with typical flamenco elements like palmas (handclapping), rasgueado (quick downward strikes across all strings) and picados (quick runs on the guitar with two fingers), along with tasteful keyboards (organ, synthesizers, Mellotron and piano) and fine electric guitarplay. The final two tracks are splendid compositions: beautiful interplay between the flamenco - and electric guitar and a bombastic finale with rasgueado, organ and electric guitar in "En El Lago" and powerful drums and a howling and biting electric guitar in "Recuerdos De Una Noche". Line-up / Musicians Jesus de la Rosa/vocals,keyboards Juan Jose Palacios/drums,percussion Eduardo Rodriguez/guitars Discography(Album) Triana (El Patio) 1975
1.Abre la Puerta 2.Luminosa Manana 3.Recuerdos de una Noche 4.Se de un Lugar 5.Dialogo 6.En el Lago 7.Todo es de Color
Fantastic symphonic progressive from Spain. MEZQUITA can be defined as a more Progressive MEDINA AZAHARA. The band consisted of Jose Rafael Garcia (guitar and vocals), Randy Lopez (bass, percussion and vocals), Rosca Lopez (keyboards and vocals), Rafael Zorilla (drums and vocals) and a violin-section. They incorporate ethnic Spanish influences into the music, and the madness is perfectly wound around tight melodic themes with Arabic and Flamenco textures. As with many of MEZQUITA's contemporaries such as TRIANA and GRANADA, there is a strong KING CRIMSON influence. The level of comparisons should bring it into perspective, this is one of the supremely classic examples of European symphonic progressive rock. The album "Recuerdos De Mi Tierra" from '79 contains six inventive and compelling tracks with exciting interplay between electric guitar and synthesizer, strong and expressive Spanish vocals, the emotional flamenco guitar and some handclapping (palmas). This album is a real crazy thing. Blending folk with symphonic, but the folk used in here is very much alike to the Spanish Flamenco sound. This time MEZQUITA uses the name, the way of singing and the music combined with excellent rock elements such as electric guitars, drums, bass guitar. Jos' Rafa has a lot the style of singing of Diego "el Cigala", and the music is really outstanding. Line-up / Musicians José Rafa/guitars,vocals Randy López/bass,percussion,vocals Rosca López/keyboards,vocals Rafael Zorrilla/drums,percussion,vocals Discography(Album) Recuerdos de mi Tierra 1979
1.Recuerdos de mi Tierra 2.El bizco de los patios 3.Desde que somos dos 4.Ara buza 5.Suicidijo 6.Obertura en Si bemol
Formas is a band from Spain releasing one album in 1981 named Largos suenos. The music is very smooth, elegant with progressive arrangements meets flamenco elements, very strong combination, typical for Spanish bands. Some fantastic keyboards interlude very well with guitar arrangements, who are simply fantastic on some pieces like La gitanilla or Surtidores. The music reminds in places of another bands from Spain like Triana , Mezequita or Alameda. The vocal parts are great as well, nice warm and smooth tone of voice. Nice album, unfairly underrated and unknown to larger public, it is not a masterpiece but a very good album for sure. Line-up / Musicians F. J. Muñoz F. Gaona J. Alonso Manuel López A. García Discography(Album) Largos Sueños 1981
1.Solea 2.Surtidores 3.Ahi abajo, la Tierra 4.La gitanilla 5.Primer amor 6.Elegia a mis poetas 7.El viejo artista 8.Aroma sureño
Tabletom arose from a hippie-commune in Malaga, Spain around 1976, led by singer Roberto Gonzalez and brothers Jose Ramirez (flute) and Pedro Ramirez (guitar).The original formation included also Jesus Manuel Ortiz on bass/violin, Jose Denis on sax and drummer Paco Oliver, who was later replaced by Salvador Zurita.They debuted in 1980 on RCA with the album ''Mezclalina''.By the time they sounded like an Andalusian version of VAN DER GRAAF GENERATOR minus the darkened atmospheres and Aussies COMPANY CAINE or LIZARD minus the harder material.They offered five long tracks with dominant use of flutes and saxes, featuring plenty of jazzy underlines in a combination that contained also evident Flamenco-styled rhythms and narcotic, psychedelic instrumentals. Vocals are used only sporadically and the focus relies on extended, instrumental jams with an interesting rhythm section and abnormal soloing by flutes, sax and violin.The music is surprisingly energetic and quite rich despite its mellow atmosphere, coming as a mix of loose executions and well-structured themes in a Psych/Jazz Rock vein, but there are also moments with clear prog tendencies, characterized by more pronounced interplays and dynamic guitar work, not to mention the bulk of changing climates.Gonzalez, who appeared to be one of the band's leaders, had an uneven, raspy voice, which comes as the lowest part of an otherwise cool release.Last track ''La guerra'' contains probably the most balanced sound of the band with extensive, harder guitars battling with flutes and saxes throughout, creating a nice mix of jazzy atmospheres and dense Progressive Rock.It appears that the band continued in a more Blues/Jazz Rock style since this release, dissolving in 1985 and returning in early-90's as a trio of Gonzalez and the Ramirez brothers with numerous live shows and many studio albums.Roberto Gonzalez died in 2011 and the Ramirez brothers considered a final break-up, but eventually continued with Tabletom's name, introducing their sister Carmen in the line-up.A different side of Spanish Prog, heavily influenced by Jazz, Fusion and Folk.Risky, inventive but not always convincing stuff, which still deserves a better exposure. Line-up / Musicians Roberto"Rockberto"González/vocals Pedro Ramírez/guitar José Manuel "Pepillo" Ramírez/flute Jesús Ortiz/bass,violin Javier Denis/oboe,saxophone Salvador Zurita/drums Discography(Album) Mezclalina 1980
1.Tipos duros (En memoria de Piyayo) 2.Ininteligible 3.Mezclalina 4.Zero zero 5.La guerra (Contra la guerra)
Great Spanish late 70s prog fusion in Iceberg vein. Much Andalusian musical elements mixed with jazz and even funky tunes.Iceberg may be the most well known fusion group from 70s/80s Spain which would definitely explain why Borne sounds almost exactly like them. Yes, Andalusian flavored jazz rock is the style here and Borne definitely know how to play, pulling off a fast-paced, riffing fusion with lots of room for soloing from keyboards and guitar. Along the way a number of styles are met from those cheesy 70s TV show type jazz rock themes, to funk, to straight out Mahavishnu-like riffing. This is generally fusion of the more accessible type, and with nine tracks there is rarely room for a more stretched out and solo occupied approach such as you'd find on an album like Coses Nostres. Borne do have their high moments of course, especially when the rhythm section pumps out a fast flowing fusion beat, the type of adrenalin-pumping action that almost makes you forget what's going on top. However such moments are relatively rare and soon after you'll be faced with yet another nod to the sort of directions that watered down the fusing of two styles in the 70s to where the music sounds like "yet another fusion group." But Exprime La Naranja is generally a mixed effort and supposedly these nods to accessible forms of the genre find an even firmer ground on their follow-up from three years later. Line-up / Musicians Victor Molero/guitars,vocals Jose Miguel Oca/bass,vocals Sergio Oca/drums Ricardo Rauet/keyboards Discography(Album) Exprime La Naranja 1979
1.Azahara 2.Abuelo Romance 3.La Musica de las Fonts 4.Very Funky 5.Exprime la naranja 6.La Boda Gitana 7.Rumbacustica 8.La Macarena 9.No veo Nada
Modulos was an extraordinaire band formed in 1969, unfortunately too late for the classic rock of the 60's and when the Spanish labels were not decided for supporting the winds of change coming from the outside. Modulos created an own and distinctive sound without loosing the commercial punch (mainly thanks to the talent of the "magician" Rafael Trabuccelli). In their sound they mixed the inherence of 60s' spanish pop español with the intensity of Vanilla Fudge, the Cantatas of J. S. Bach or the delicious touch of Le Orme. That exceptional band was formed up by Pepe Robles, singer of a very large register, composer and remarkable guitarist. The rhythm section was for other two talented players: Emilio Bueno on bass and G. Reyzabal on drums and also on violin. Finally the chief on Hammond was Tomas Bohorque, howling like never heard before. In addition he played accordion and triangle, providing a characteristic "clinc". Innovative and avant-garde, they take care of their sound to the maximum. They were very professional (the first having an office in Madrid). Their first presentation was prepared until the smallest details. But that was never recognized. Too hard for their time, with too weak words compared to those of bands coming later. Their influences could be found in bands like Vanilla Fudge, Cream, Young Rascals, Italian progressives and lately Yes, but their hippism led them also to the west coast bands. They were pioneers and really good. Not an usual band. Their first three singles become hits but it was their first LP their actual "hit". For the first time in Spain a band gave more importance to the Long Play than to the singles. No one can miss hearing it. One year later (1971) "Variaciones" was released. More optimistic than the former, more "hippy", those nine songs kept a high level.vuelven a mantener un nivel tremendo. In 1973, after another nice single, they made "Plenitud", thir best album for many people. Anyway, some changes were present. Pepe was not at his best in vocals (he was on guitar) and it seemed that the keyboards tried to sound like Yes without achieving their goal. It seemed that they were trying to experiment into progressive rock. 1974: what a pity!. "Modulos 4" points to the other side. Even Reyzabal seems tired when playing drums. It has its moments, but clearly their label (Hispavox) wants another thing. It's decadence. Just when Yes, Genesis, Deep Purple or Pink Floyd were at their best. After a number of line-up changes (Chupi on drums, Sherpa on bass) and singles they released a last LP through Olympo. Line-up / Musicians Tomas Bohorquez/Hammond organ,mellotron,accordion,moog Pepe Robles/vocals,guitar,flute,oboe,bongos Emilio Bueno/bass Juan Antonio Garcia Reyzabal/drums,violin Discography(Album) Variaciones 1971
1.Un nuevo dia 2.Adios al ayer 3.Solo tu 4.El bandolero 5.Quiero olvidar 6.El sonido del silencio 7.En mis suenos 8.Juan 9.Quisiera conseguir
CAI was a harmonic Spanish quintet with Diego Fopiani Macias (drums/vocals), Jose A. Fernandez Mariscall (guitar), Francisco Delgado Gonzalez (guitar), Sebastian Dominguez Lozano (keyboards and piano) and Jose Velez Gomez (bass/vocals). They released three albums entitled "Mas Alla Mentes Diminutas" ('78), "Noche Abierta" ('80) and "Cancion De La Primavera" ('81). The album "Noche abierta" (1980) is one of the gems of Spanish progressive Rock. The seven tracks sound pleasant with warm Spanish vocals, tasteful keyboards (piano, strings, synthesizers and organ) and sensitive electric guitar. The integration of "the art of the flamenco" guitar gives this progrock an extra dimension. The multi-part ''La Roca del Diablo'' is the album's centrepiece, an 8-minute instrumental that features some brief but tasteful vocoder effects. The album's second instrumental ''Alegrias de Cai'' is another highlight, based around a cheerful groove that's reminiscent of Return To Forever with its fine guitar and synthesizer interplay. The title-track is a beautiful piece Rock Andaluz, complete with flamenco guitar and genial vocals. The second half of the album maybe doesn't quite match the first, although it finishes strongly enough with the above mentioned ''La Roca del Diablo''. Overall it's not as good as Gotic's ''Escenes'' although it is even harder to find, but anyone that does manage to get their hands on a copy of ''Noche Abierta'' is in for a real treat. Line-up / Musicians Diego Fopiani/drums,percussion,vocals Jose Fernandez Mariscal/guitar Francisco Delgado Gonzalez/guitar Sebastian Dominguez Lozano/keyboards,piano Jose Velez Gomez/bass,vocals Discography(Album) Noche Abierta 1980
1.Soñe Contigo 2.Despertar 3.Alegrias de Cai 4.Noche Abierta 5.Extraña Seducción 6.La Fabula 7.La Roca del Diablo
Spanish singer and songwriter Miguel Ríos was born in June 1944. As a student, Ríos grew closer to his passion by singing with his school's chorus and listening to the radio every time twist songs were on the air. By working at a music store, Ríos had the opportunity to meet people related to the local music scene who gave him a chance to start singing in front of an audience, starting as a backup singer. After recording a demo, he decided to send it to a major label in Madrid, choosing Philips. The waiting ended in 1961 when the artist was contacted by the label. That same year, Ríos moved from Granada to the Spanish capital city, recording an EP called El Twist in 1962 as Mike Rios. Two years and six EPs, Ríos was starring in his first movie, called Dos Chicas Locas, Locas. In 1965, the singer left Philips, and after working temporarily with Sonoplay, Ríos signed up to Hispavox, releasing the smash hit single "Rio," and later his first full-length, Mira Hacia Ti. In May 1970, a second album came out which included "Himno a la Alegria," based on Beethoven's ninth symphony; it became Ríos' first song to reach the Billboard charts. After leaving Hispavox during the mid 70's, Miguel Ríos released a string of albums that fall into the progressive-symphonic category. What he did before and after this trilogy does not, as far as those brave enough to have heard Ríos' discography claim.The first part of the trilogy was the Memorias De Un Ser Humano album. Among with the remaining two, it saw the light of day on CD not before 2005, sandwiched in a double compilation called "Miguel Vol. 3 - Historia De Una Búsqueda (1974-1977)" ("Miguel Vol. 3 - Story Of A Search (1974-1977)"). It also included an unreleased track, "The Boy That Didn't Get Born" (real title). Line-up / Musicians Miguel Rios/vocals Antonio Perez/Guitars Johnny Galvao/Guitars Mariano Diaz/Keyboards Teddy Bautista/Keyboards Tito Duarte/Percussion,drums David Waterstone/Harmonica Discography(Album) Memorias De Un Ser Humano 1974
1.Viviras tanto (como tengas ganas de vivir) 2.El juglar 3.La mina 4.Buenos dias 5.Por si necesitas 6.Sweet California 7.Desde mi ventana 8.Memorias de un ser humano
The acclaimed Spanish fusion band IMÁN CALIFATO INDEPENDIENTE has its origins at a convention, given by the meditation guru Maja-raj-ji, in the mid Seventies. Like genuine hippies, the musicians lived together in one house in El Puerto De Sta. Maria and eventually they founded IMAN, featuring Inaki Egana (bass and vocals), Kiko Guerrero (drums and percussion), Marcus Mantero (keyboards), and Manuel Rodriguez (6 - and 12-string electric guitar, vocals and percussion). In '78 they made their first record, entitled "Iman Califato Independiente". In '80 IMAN produced their second and last album "Camino del Aguila". IMAN also appeared on the Spanish compilation albums "Rock Andalus" ('94) with the songs "Tarantos", "Cancion de la Oruga" and "Ninos" and the exciting 2-CD "Duende" ('97) with "Tarantos". Their strong and alternating sound is a fusion of symphonic rock in the vein of PINK FLOYD and the jazzrock from the CANTERBURY SCHOOL, added with some Andalusian flavour. The rhythm-section is tight and adventurous, the guitarplay strong and the keyboards sound pleasant. The most captivating element of IMAN is the interplay between guitar and keyboards (at some moments evoking ICEBERG). Line-up / Musicians Inaki Egana/bass,vocals Kiko Guerrero/drums Marcos mantero/keyboards Manuel Rodrigue/guitar Discography(Album) Califato Independiente 1978
1.Tarantos del Califato Independiente 2.Darshan 3.Cerro Alegre 4.Cancion de la Oruga
Duo formed by Jordi Batiste (cult artist who played in the legendary catalan psych/proto prog band Máquina! and Grup De Folk, among others) and Ia Clúa (ex-member of the mega obscure catalan proto prog band Estratagema). Their discography consists in two studio LP's (plus a couple of live ones), albeit only the first of them is the most memorable of the two: it is an eclectic cult album, highly praised even by foreign music lovers. The second one, "Chichonera's Cat", lacks both the progressive elements as well as that mystic aura that makes "Un Gran Día" a cult work. Line-up / Musicians Ia Clúa/vocals,Guitar,Piano,Bass Juan Soriano/percussion Jordi Batiste/Bass,Vocals,Guitar Max/Vocals,Guitar Discography(Album) Un gran día 1972
1.Un gran dia 2.Max 3.Sifón 4.Sleeping Rock 5.Oliba 6.Amèrica to you 7.Pallarès 8.Sky into the bus 9.Anna 10.Morrisong
Of all the Basque "folk" groups, Lisker might be the one least Basque folk (bar the hard rocking Sakre), but it is certainly not the least interesting, on the contrary. While their folk roots can still be heard (at times), it is clear that Lisker preferred a good hard-rocking psych rock, powered by a fuzz guitar and a gorgeous flute. This double guitar and flute quintet recorded a sole eponymous album in 79, released on the second Basque label Xoxoa and sporting an intriguing old window artwork. The quintet is build around Ernesto Gomez (ac guitar and vocals), and develop a mainly instrumental high energy prog filled with enthralling solos and good interplay, which can be anachronistic given that it comes a decade lateObvious comparisons to early Jethro Tull are correct, but one might want to think also of De De Lind in the heavier moments. Actually the crystal-clear and crisp flute answers brilliantly to the over-powering fuzz bluesy guitar. While often rocking hard, the album knows how to respect a truce: the lovely acoustic arpeggios of Ametz Jazarriak are a pure joy, and the build up is very impressive. This is easily the opening side's highlight, but the other two tracks are both excellent. Indeed Bakardade Tristea starts on acoustic arpeggios and a flute (worthy of Genesis' Tresspass), before the group enters and Gomez's singing, fitting well the group's psych feel but not really meaningful lyric-wise, and Alberdi's soaring guitar send the track on orbit into your mind. The flipside has only two tracks, the heavy-riffing Garajeko Melodia, which develops is a wild jam (some lengths are observed, but nothing worth recriminating about), and the even lengthier finale which holds some excellent interplay, but is also slightly demonstrative, but again nothing to be worried about: this is more suited to the early 70's than the early 80's. Line-up / Musicians Julian Alberdi/guitar Jabier Zabala/bass Jesus Gil/flute Ernesto Gomez/guitar Jose Antonio Salado/drums Discography(Album) Lisker 1979
1.Kalean festa 2.Amets jazarriak 3.Bakardade tristea 4.Garajeko melodia 5.Eldarniotik iheska
Labanda was a Spanish musical group Celtic music and folk-rock, originally from Madrid. Although the end of their career they recorded a song, its most characteristic repertoire consists of traditional instrumental pieces or traditional inspiration, as evil dreams, arranged in a nearby Gwendal of French style. The group, which was called at first band Rory McGregor, was founded in 1979 and dissolved in 1986 returned in 1987 with another formation. Line-up / Musicians Luis Silva/mandolin,viola Joaquín Blanco/flute,percussion José María Silva/bass Pedro Guerrero/guitar,percussion Jean François André/violin Tony Vázquez/drums Discography(Album) Fiesta campestre (Rockmería) 1981
1.Fiesta campestre 2.La mujer del músico 3.La vaca 4.Rockmería 5.Un camino de cerveza 6.Filomena 7.Los padres ya están aquí 8.Celtas con filtro 9.No mires ahora
Basque Psych/Folk-Rock group, active between mid- to late-70's.Members were Alfonso Guillok on bass/vocals, Gabi Agirregomezkorta and Txerra Gurrutxaga on electric guitars/vocals, Luis Diego on acoustic guitar and Endika Iriondo on drums. Their eponymous debut was released in 1976 on the Basque label IZ.Without speaking the Basque dialect of course, but looking at the front cover, this Psychedelic Rock album had to contain strong political lyrics, as the letters of the band's name build the form of the Basque flag.The style on the opening tracks is Heavy Psychedelic Rock with fuzz guitars and interplays with the acoustic ones, while the vocal arrangements are simply excellent.Later on the Folk elements become more prominent with more space for acoustic passages and light use of percussions and flutes every now and then, but the electric guitars still deliver some decent solos and lead the way.Not much of a great music quality, but everything in ''Koska'' is played with heart, while the vocals seems to be the stronger point of the band. Line-up / Musicians Alfonso Guillok/bass,vocals Gabi Agirregomezkorta/guitars,vocals Txerra Gurrutxaga/guitars,vocals Luis Diego/guitar Endika Iriondo/drums Discography(Album) Koska 1976
The Spanish quartet KHORUS was formed by guitarist Carmona back in 1974, and for the next five years it plied its trade in its local scene and was apparently a popular live act at the time. By 1979 the band had disbanded, and founder Carmona would continue on in a number of other bands. They never got to release anything while active, but with recorded material more or less ready to be released. Musically we're dealing with a band following pretty close in the footsteps of Camel: symphonic art rock with an emphasis on gentle instrumental textures and instrumental soloing. Opening effort Suite, which is the only reason to contemplate buying this disc, is a 10-part epic that will transfix most with a taste for endeavors of this kind. Playful keyboard soloing, slow mood-oriented guitar soloing, gentle piano textures underscoring and the odd folk- and jazz-oriented movement are all parts of this creation. Gentle psychedelic-tinged guitar licks are a nice additional feature when appearing, an almost customary feature for this type of music back in 1975, but in this case utilized effectively and sparingly. Steady drums and bass guitar provide momentum in an excellent manner. Nothing new or innovative as such, but well-made and well-performed, the kind of song that at least in my case made me forget about space and time while it lasted and where certain passages echo in my mind long after it had finished. Second track Concierto en Huelva is actually two songs performed live, initially recorded on cassette back in 1978. And while both songs appear to be good quality efforts very much in the nature of the title track, the appalling recording quality will make this one a case for the very specially interested only. Line-up / Musicians Fernando Carmona/guitar,vocals Jesús Carmona/keyboards,vocals Juan Falero/bass,vocals Juan Carlos Nieto/drums,vocals Discography Suite 1975
Jarka was the early 70's Spanish band of keyboardist Jordi Sabates. He plays piano, electric piano and organ, backed by bass and drums . Playing with a strong jazz sensibility, Jarka also differed from their Spanish contemporaries in the noticeable lack of any influence from Spanish culture or folk music. They released just two albums in early seventies, which were re-released in 1992 both on one CD. The music on Ortodoxia is predominantly in a jazz-fusion style reminiscent, perhaps, of Soft Machine or other early 70s European jazz-rock groups. Sabates' definitely carries the group with his deft playing, laying down some tasty jazz licks on the piano as well as occasionally turning to the organ or electric piano for more of a fusion approach. The primarily acoustic bass playing of Alfonso de Lucas is also quite impressive, showing a strong familiarity and versatility with the jazz idiom. With these two players coming from an obviously solid jazz background, the drumming, although quite tasteful and inventive, seems a little out of place with its more rock influenced styling, perhaps reminiscent of Robert Wyatt. The album overall is rather average; there is some good playing and some nice moments, but nothing that really stands out as spectacular. The 2nd album adds some guests, but the overall sound is still firmly on the keyboards with rhythm section. Some parts are quite jazzy, while others sound like early progressive rock mixed with a sort a Canterbury jazz/rock sound. Expanded to a four piece, with the addition of a guitarist as well as a new drummer, the album is a significant improvement over their first. Sabates' playing really shines here, and it is obvious that he could have held his own in any of Miles' line-ups. His style is probably most reminiscent of Herbie Hancock; somewhat impressionistic with a keen sense of chordal colors. His chops work best on the piano, but he also knows how to make his Fender Rhodes growl and bite, and there is some fine playing featuring that classic jazz electric piano sound as well. The guitar, present on maybe half the tunes, is also excellent, and may remind some of a slightly less aggressive John McLaughlin in his Miles Davis days. Line-up / Musicians Jordi Sabatés/keyboards Alfonso de Lucas/bass Pedro van Eeckout/drums Danny Somoza/guitars Discography(Album) Ortodoxia 1971
1.Osceli Rescaldat 2.Popiada 3.Resposta 4.Sube la silla roja 5.L.I.A.I 6.Noche de Pez 7.Retorna 8.No Estes Cohibido 9.Ortodoxia
MACROMASSA were founded as a pioneer of experimental / psychedelic projects in Barcelona by Juan CREK (saxophone, programming, voices) and Victor NUBLA (clarinet, programming, voices) in 1976. Both founders are the only members stationed stably from the beginning, regardless of lots of collaborators, especially two important ones Anton IGNORANT and Albert GIMÉNEZ. With marvelous electronic essence and improvised universe, they've exerted considerable influence not only upon music or performance but also literature or art in Spain. Line-up / Musicians Víctor Nubla/saxophone,vocals Juan Crek/saxophone,vocals,programming Albert Giménez/guitar Xema Hernández/drums Gabriel Brías/guitar Ernest Ballesté/flute Antonio "Pouma" Graña/violin Francesco Bsme/guitar Luis "Morgan" Foyé/drums Enric Massip/drums Paco Espinosa/bass José Navarro/bass Discography(Album) El Concierto Para Ir En Globo 1980
1.Primeras Impresiones 2.Un Sueño Ruiz 3.Tierra De Una Manzana 4.Un Conflicto Y Un Estraperlo 5.De Monios S.L.
