ICEBERG

Spain goes JR/F. Ok. Although the convoluted story of how this and their next album landed in my possession is as unlikely as the opening statement. But am glad they did.

The opening short track has you heading down symphonic prog boulevard and you would have been admiring the view and sounds as it has promise. But then a sharp left (track 2) into JR/F avenue leaves you in no doubt where you are heading. Let's pray it won't be a cul de sac....Nova...the second track is firmly in the Return To Forever town planning oeuvre and not a hint of a smooth and lazy by numbers design. Plenty of guitar/keys mirroring and for once a bass player with chops but also the knowledge that it is his job to provide the solidity for what else is being layered on top. Twists and turns and no straight road...dynamics and atmosphere. Marvelous. This bleeds into the third track with a detour via ECM stylings and a prog layering of synths and I suppose being Spanish ... the old Scottish cattle prod comes out....or acoustic if you prefer (this will not translate well/reference may be lost on many) but only the merest suspicion of flamenco is in there. The only slight downer is the synth sound is a little thin and not as rich as I assume they were aiming for. La D'En Kiftus is my standout. And not just because they employ a guitar sound similar to Micky Jones of Man in parts. Loads of freak out keys/guitar response that works for me every time. Then a slurred bass riff takes this somewhere else before the guitar and keys guys decide they want to play the same thing before the bass and guitar man want their turn .More time changes and proggy keys builds. They know their stuff. Actually they do throw some flamenco scales and chordings into track 5 but it is subservient to the JR/F imprint. I can't make my mind up about the guitar man. Oh he can play and he certainly is attacking rather than carefully constructing and is probably close to Al Di Meolaesque with a nod to Akkerman and Bill Connors. I think, like I mentioned re synths earlier, it is a thin sound that stops me short of really singing his praises. This being 1976 it was unacceptable to put out a JR/F album without a funky track (A Valencia). This one has a Nektarish feel too, surprisingly. And doesn't dote on the funk. And you wouldn't expect to find BJH referenced either but some of the keys wash would fit with/from them. We close with 11/8 Manifest....now there's a time signature that makes my dancing make sense...and while it goes nowhere new from the above, it underscores how good this band/album is and I would take this/them all day long over say Brand X (far too polite). Sometimes obscure gems turn out to be diamonds and this lp plus Sentiments (1977) really are worth mining for. I can't vouch for the rest of the catalogue but it doesn't matter. These two albums are the business. Proper, proper JR/F.

I consider this work one of the best on the realm of jazz-rock fusion. They had already released two other albums previously, but their musical experience goes a little more backwards. Max had already participated in the group Tapiman, which released a good disc on 1972, that's also on the jazz-rock vein. And before that, he was on some other projects that didn't work so well (IMO). Kiftlus and some other musicians made a very good psychedelic- progressive effort on a 1970 release under the name Proyecto A. And Sancho was on the band Armada, that also came up with an album on 1972. Let's go back to "Sentiments". The dialogues and challenges that the instruments provide between themselves are outstanding. They prove that you don't need the best equipments to make great music; if you're a genius, of course. Even though all of them are exceptional artists, Max Sunyer, the guitarrist, stays one step ahead on brilliance and inventiveness. Clean notes come and go with great energy and vivacity on his performances. And the longer notes are very passionate. I'll make some appointments on most of the tracks. The intro one is a crescendo in both speed and guitar complexity, very intense. It's short, and closely connected to the following track, on which the group presents its incredible versatility and cohesion when it comes to jamming. When one instrument is playing short notes, the others take up less space. So, although the executions are fast- paced, it's not confusing, and at the same time it's very enjoyable to follow the phrasings they create, like a huge box of assorted chocolates and candies. They don't let the energy drop until the conclusion of side A. The 5th track, which opens side B, has a fun chorus of barking dogs. When they jump into the song itself, the rhythym is a little less inspired, compared to the other tracks. However, the phrasing soon finds its place within the rhythmic sections, and as a result the level improves. The bass is heavier, creating a slightly funkier vibe. The last two tracks are an invaluable legacy for progressive rock. "Joguines" shows unbelievable dexterity and emotion on the acoustic guitar. With piano accompaniment and a more jazz or soft-jazz feel on the drums, there is an organic and fluid partnership. "Allegries de Mediterrani" is an explosive feast of sounds. It starts at a normal rhythm, with brief drops in volume and sound mass. But from 3 minutes onwards, it grows and presents a fabulous variation of combinations between cymbals and fast bass drums. The bass is heavy again, not as much as in the 5th track, but enough to bring a consistent firmness to the rhythm sections. And in the right measure so as not to swallow the guitar and keyboards, which are brilliant in their combinations between short and long notes. At 6'30 a more melodic section comes, before the apotheotic ending. Iceberg had a meteoric duration, from 1974 to 1979. But released a lot of amazing music, on this record and on others. That's why I don't understand what are the reason(s) that they don't have a live record with songs from "Sentiments" and/or from "Coses Nostres". Even though they made a live effort entitled "En Directe", it has has new compositions that are not as brilliant as the two aforementioned discs (IMO). Indignant about this, I did a little research. I found, at least on youtube, a radio program showing songs from the band's show at the Teatro Calderón in Madrid. From May 1979. As they were promoting their last studio album, the good but not spectacular Arc-en- ciel, most of the songs are from that work. But, in addition, there's also "Sentiments", "Andalusia, Andalusia", "Canco per qualsevol orchestra", "Ones" (these two last ones from the official live), "Alegries de mediterrani" and (from "Coses Nostres ") "La flamenca electrica". I give "Sentiments" a 4.7 on a 5 star-scale.

Same lineup as Coses Nostres and Sentiments, last album from these awesome J-R Fusionists. The band here sliding a little more into the Latin-biased sounds and styles that Chick Corea was gravitating to in his solo work of the same period.

1. "El caminant nocturn" (8:21) Fender Rhodes chord play is soon joined by bubble-effected bass and militaristic jazz drumming before synthesizer and electric guitar step in to take the lead. Lots of stops and goes, lots of rock and prog-sounding riffs and passages give this an almost NOVA-like feel, though something about it also reminds me of The MAHAVISHNU ORCHESTRA's last album, Inner Worlds. We've definitely entered the gratuitous world of commercial J-R Fuse that Herbie Hancock's Thrust and Return to Forever's Romantic Warrior opened up to the world. (17.5/20)

2. "Càntics de la carn" (11:18) so like the music that Chick Corea was doing with Leprechaun, My Spanish Heart, and The Mad Hatter that I had to keep checking as I was listening to this to make sure it wasn't something from him, Al Di, or a hidden RTF album that I'd missed! Excellent performances top to bottom (despite Kitflus' rather schlocky and now-dated array of keyboard sounds). (18/20)

3. "Riu d'agost" (7:41) piano and acoustic guitar opening that sounds suspiciously like something from Al Di Meola and Chick Corea. Even the sound engineering seems perfectly imitative of some of those earlier RTF albums (not Romantic Warrior). At 1:45 the full band breaks the spell of the acoustic duo and launches into a long bridge before settling into another Latin-rhythmed dance tune. The lead instrumentalists retain their acoustic orientations while bouncing back and forth between 10-to-20 second bursts as soloists often bridged by patches in which they play together. Quite a nice, light and jolly, and impressive song of instrumental prowess--and such tight, whole-band feel coming from the quartet. (13.5/15)

4. "Embrujo" (6:14) yet another song in which the band lets their ethnic roots come shining through--though once again expressed with incredible virtuosity and intuitive interplay. These guys are really gelling! And Max has never been more effusive! (9.25/10)

5. "Crisàlide" (6:30) piano and acoustic guitar open this one until 1:20 when searing Al Di MEOLA-like electric guitar ushers in the rest of the band. This complex, never straightforward song offers some great bass playing as well as tight disco-ish drumming with Kitflus' DEODATO-like bouncy Fender Rhodes play when Max is shredding up front. (9.25/10)

Total Time: 40:04

A-/4.5 stars; a near-masterpiece of Second Wave Jazz-Rock Fusion approaching the Smooth Jazz era.

The third studio album release from these maturing artists: all their hard work and previous experimentation have finally paid off with this Jazz-Rock Fusion album that shows the band finally committed to one style of music.

1. "Sentiments" (1:50) wonderfully potent atmosphere that begins to deliver big time with the MAHAVISHNU-like finish. Wow! Great start! (5/5)

2. "Andalusia, Andalusia" (5:37) such great sound coming from the drums, hefty electric bass, and joaguín "Max" Sunyer's Al Di Meola/Corrado Rustici-like electric guitar! It builds and forms, and fills the sonic landscape just like a RETURN TO FOREVER tune. Keyboard maestro José "Kitflus" Mas has a sound palette and style that is to my ears more similar to that of JAN HAMMER than Chick Corea--and there's nothing wrong with that--though his keys are often oddly mixed just behind the other band members. Still, Kitflus and Max keep us mighty entertained with their lightning-fast runs performed in perfect synchrony. Great first full song even if a bit overly RTF. (9.25/10)

3. "A Sevilla" (5:13) another very powerful and dynamic rock-infused funky jazz song that owes much to RTF but also to Mahavishnu Orchestra and Weather Report despite its roots in Spanish folk melodies. The "dirty" sounds of the bass and electric guitar are understandable for giving the song a little edginess but Much of drummer Jordi Colomer's play reminds me of Lenny White but there's also some flashes of Cobham and even Bruford in there as well. (9/10)

4. "Ball De Les Fulles" (5:30) a song whose sound palette for some reason reminds me more of MAHAVISHNU ORCHESTRA or even GEORGE DUKE than the previous stuff. I'm not a real fan of Max's very "dirty" almost fuzzy guitar tone but I can find no fault with his play. Kiftlus' mastery of clavinet might just be more impressive than his Fender Rhodes play. Primitivo Sancho's bass playing is solid if mixed a little too open on the low end and Jordi Colomer's drumming is as masterful as ever. (8.875/10)

5. "Magic" (6:23) human-made dog barking and other sounds open this one up until a coaches whistle announces the real start to the song: a delightfully funky affair that presents some very engaging melodies amidst some quirky sounds and riffs. The funk bass seems quite reinforced and perhaps even enhanced by Kitflus' clavinet while Jordi's drums hold a pretty steady Billy Cobham-like beat but it's the keys that are definitely the star of this show! Nice, tight, easy-going. (9/10)

6. "Joguines" (3:00) a song to show off Max' prowess on steel-stringed acoustic guitar as well as Kitflus' on piano. There's still electric bass and Oberheim-like strings but it's a nice change up from the fire and smoke of the all-electric stuff.Plus, there are some very pretty lines and playing from both Max and Kitflus. (9/10)

7. "Alegries Del Mediterrani" (9:17) this one takes the listener on a musical journey that is surprisingly smooth and melodic--especially the first three minutes. The band tries to go full-speed RTF in the middle section but ends up crossing more into GEORGE DUKE or UTOPIA territory--except for that amazing drummer: Jordi Colomer is definitely on another plane of consciousness throughout this section! At the six-minute mark the music takes another detour, starting with a rather raw and raunchy bridge that opens up into another more smooth and melodic motif similar to the opening, only this time guitarist Joaquín Sunyer shows up with a laser sword to cut and slash his way through and over the rest of the band--at least until the final minute when everybody returns to the second full-speed motif. Nice finish! (18.5/20)

Total Time: 35:50

Though nothing on this album quite lived up to that pretentious proggy opening title song, the rest is definitely of incredibly high caliber and worthy, as a whole, of mention along side some of the greatest J-R Fuse albums of the mid-1970s. The instrumental virtuosity is all there, now the only step left for these guys is the full integration or "fusion" of the band's four members into one, fully synchronized and entrained unit making music that is holistic. That is what the next album (and, sadly , their last) will put on display. An amazing "arc" of growth to behold: self-awareness and enthusiasm turns into self-discovery and, then, finally, self-realization.

A-/five stars; a minor masterpiece of dynamic and hard-drivin' Jazz-Rock Fusion taking its inspiration from the likes of Return To Forever, The Mahavishnu Orchestra, and other masters of the domain.

The sophomore effort of eclectic prog from these still-green yet maturing artists from Barcelona.

1. "Preludi I record" (2:14) sounding more like a Journey or schmaltzy FOCUS song of the Mother Focus period, there are even West Side Story references to what feels like anthemic music. Weird! I'm not even sure I would call this Jazz- Rock Fusion! (4.25/5)

2. "Nova (musica de la Llum)" (8:56) music that is both cinematic and proggy enough to warrant comparisons to bands of the time like SANTANA, YES, and even Todd Rundgren's UTOPIA. Nice drumming display (if a bit sophomoric) in the fifth and sixth minutes. They're trying so hard to be top-tier prog--or J-R Fusionists--but are just not there yet. (17.5/20) 3. "L'acustica (referencia d'un canvi interior)" (9:10) opening with a sound palette and choatic playing style that reminds me of the early songs and albums of GONG, NOVA, and STEVE HILLAGE. At 1:45 a new motif starts with some out-of-tune reverb-guitar arpeggi and electric piano notes. At 2:45 the full band finally comes together into a gorgeous space-proggy motif that reminds me of one of the early Canterbury artists (like EGG) wherein acoustic guitar and piano take turns soloing over The music and performances are so simplistic compared to what will come ahead on Sentiments and Arc-en-ciel! And the sound engineering is awful compared to what's ahead. In the end this is a pretty prog song showing a band of ambitious young musicians on the rise. (17.75/20) 4. "La d'en Kitflus" (6:49) despite the cheesy synth strings and Fender Rhodes play, here is the first song that begins to encroach the possibilities of Jazz-Rock Fusion--though there are just as many symphonic elements employed: It reminds me of early FOCUS. Some very impressive guitar and synth synchronized runs here and there! The lumbering bass-centric motif in the fourth and fifth minutes is as mystifying as it is cheesy. Again: some brilliant ideas that the band (and producer) are just too young and inexperienced to turn into fusion (or prog) gold. The skills are impressive but they're still learning how to best display and express them. (13.125/15)

5. "La flamenca electrica" (5:56) sounds like a continuation of the previous song; as if the band is using these song ideas to figure how to best express their talents instead of trying to make the composition their primary focus of their expression. Interesting and very skillfully layered but lacking the sounds from their instruments as well as the engineering acumen (or equipment) to pull off some great sound. (I'm often wondering if these were demos that never reached the finishing/polishing stages.) Again, great skills in development and aspiration; they're just not there yet. (8.75/10)

6. "A Valencia" (8:45) a song that seems to be based on working on the mastering of a borrowed riff: like any student of classical music, you work with études and other practice vehicles in order to perfect your chops as well as your musical foundations. That is exactly what this song feels like--especially with its "Never Been Any Reason" HEAD EAST sound palette. There's even a couple more styles to work on in successive motifs within the song. Nice to hear Jordi's drum skills put on full display in the final motif. (17.25/20)

7. "11/8 (Manifest de la follia)" (6:54) the first of the band's songs on which I've heard a little of the Latin flavors that will continue to grow and take over their playing sound and style. Definitely a song reaching for RETURN TO FOREVER territory--and almost successfully doing so! You go, Guys! You'll get there! (13.375/15)

Total Time: 48:44

The band has definitely not evolved into its masterful RETURN TO FOREVER sound nor the incredible cohesion and synchrony of Arc-en-ciel yet; the band's engineering, compositional, and performative skills are just not up to the speed and skill level necessary to pull off those next couple albums. Give 'em a year!

B/four stars; an excellent tier-two contribution to the lexicon of progressive rock music from a band that is still finding its way, still experimenting with its preferences for style and sound (as well as still growing their skills). It's worth listening to, but if you want the peak of this band's output, seek out 1977's Sentiments or 1978's Arc-en-ciel.

It's a while ago that this excellent Spanish prog band was reviewed so time for a re-discovery? Iceberg was founded in 1974 and released 4 studio-albums entitled Tutankhamon (1975), Coses Nostres (1976), Sentiments (1977) and Arc-En- Ciel (1978) and 1 live album En Directe from 1079, this was their swan song. On their debut album Tutankhamon Iceberg presents 11 tastefully arranged compositions, embellished with a wide range of vintage keyboards (from Fender Rhodes electric piano to Mellotron choirs) and often fiery guitar work (with wah-wah) and topped with those typical passionate Spanish vocals. From their second album entitled Coses Nostros (without singer/saxophone player Angel Riba) the sound of the band turned into jazzrock/fusion, with hints from Mahavishnu Orchestra, Return To Forever and Santana (an obvious latin feel).

Preludi I Record : Fiery guitar, a swinging bass, subtle Fender Rhodes electric piano play and sensational Minimoog flights.

Nova : A strong Andalusian undertone featuring captivating shifting moods, with spectacular wah-wah guitar and dazzling Minimoog runs.

L'Acustica : This track contains John McLaughlin inspired acoustic guitar and swinging jazzy piano.

The tracks La D'En Kitflus and 11-8 : Flashy synthesizer flights, fiery electric guitar and an amazing rhythm-section.

A Valencia : This is a mellow track with an exciting pitchbend- driven Minimoog solo.

La Flamenca Electrica : First soaring keyboards and powerful clavinet runs, then a swinging rhythm featuring spectacular work on guitar and keyboards. The atmosphere strongly reminds me of my beloved Rock Andaluz.

This excellent Spanish four piece band delivers outstanding, very melodic instrumental music. I am sure you will be carried away by the 7 dynamic compositions with lots of interesting musical ideas. Highly recommended for jazzrock/fusion aficionados!

Debut album from one of the most unfairly forgotten spanish prog bands of the 70!

And unlike their posterior releases which are clearly more jazz oriented, Tutankhamon was a lovable attempt from this band to create a prog-rock album in the vein of Yes, Camel with a touch of King Crimson. So, it's nothing really new or truly original to be heard in this record, but it's surely worth your time nevertheless if you are into this kind of music.

The album opens with Tebas, a Little instrumental track with beautiful melodies which are very Yes influenced. After this track Prólogo introduces some powerful guitars and the fine vocals from Ángel Riba, who sings in a very passionate and solid style giving the band an extra amount of personality.

Sacerdotes has another great riff at the beginning and curious saxophone which contribute with some extra symphonic elements. The lyrics are sadly a bit ridiculous, but that's the weakest point of the band anyway. But this problem is not to be find in Amarna, an instrumental composition with some wah wah guitars, mellotron and a fine dark atmosphere.

Lying on the Sand has an enigmatic beginning and slow verses, and that's a good 70's standard prog-rock song excepting the lousy English pronunciation of Ángel... In my opinion, this mixture of Spanish and English lyrics was a mistake. They should have made the whole album at Spanish and after this experience is not a surprise that they became totally instrumental on their second release Coses Nostres.

Amenphis is another instrumental song with some Syberian Kathru influences while Himno al Sol is one of the centerpieces of the album, this time with even interesting lyrics and excellent guitars. And also, an excellent guitar and keyboards playing is to be find in La Muerte, a good instrumental ruined by a boring drums solo.

Close to God is a song that could have been recorded by The Flower Kings years later, being an obvious influence for this great Swedish band. And his beautiful and dreamy track is perfectly linked to Too Young to Be a Pharaoh, the best track of the album with a killer riff, great vocal interpretation and a guitar which could have been played by Steve Howe himself. After his adrenaline discharge, a reprise from Tebas closes the album in a fine way.

Conclusion: in a land so complicated for prog-rock like Spain, Iceberg managed to release a very solid 70's prog album which works almost like a single track. Coherent, well written and with very solid instrumental skills by the whole band.

Is was by no terms groundbreaking or truly original, with influenced that are a bit too obvious, but it will surely please you if you like the typical 70's prog rock made from the heart. Recommended!

Best Tracks: Tebas, Himno al Sol, Close to God, Too Young to be a Pharaoh.

My rating: ***

Madrid would be again the city to receive the talents of the remaining Iceberg quartet, as the group moved on to a third work.Angel Riba, who had cut any instrumental ties with the band, still served them as a manager and was propably the one who arranged the visit of the group at the Sonoland Studios.The album was titled ''Sentiments'' and was released in 1977 on CFE.

Iceberg would now present their sharpest and most dense album so far, still containing the occasional Latin Fusion echoes, but performed in a frenetic and convincing way.More mature than on ''Coses nostres'', their smoky performances remind me of Italians ARTI E MESTIERI, the tracks are fast-paced with impossible-to-follow interactions and breaks into dramatic solos and bombastic parts.They never forget to throw in the appropriate laid-back, Latin-spiced melodies, more apparent during the guitar solos, and the album keeps the listener stuck on his headphones until the very end.Now, there is something called ''composition'' in music and, yes, they did it pretty well in that section too, even if the album is dominated by the solos and interplays.And that's because every note here seems to be appearing in the proper place, the executions are maybe too excessive, technically superficient and fairly virtuosic, but the mass of breaks leads to more down-to-earth passages with atmospheric and melodic injections.Fantastic guitar work by Sune and Josep Mas had eventually become one of the notable figures of Spanish Fusion with his electrified keyboard playing.And a special mention to Jordi Colomer, who's drumming is coming out of a seminar, flawless, solid and very technical.

Very nice Spanish Fusion.Rich in interplays, melodies and atmospheres, containing lovely Latin tunes and some amazing solos.Strongly recommended...3.5 stars.

For their second album Iceberg had a completely turn both in the line-up and style of music proposed.Angel Riba left the group and the remaining quartet decided to move on as all instrumental ensemble.They traveled again to Madrid and recorded ''Coses nostres'' in just four days during September 76' at the Kirios Studios.Even a single was released to promote the album, containing ''Preludio'' along with a shorter version of ''La flamenca electrica''.

Musically the mixed bag of sounds presented on ''Tutankhamon'' was a thing of the past.Iceberg focused on creating technically compentent, at times virtuosic and irritating Progressive Rock with strong Jazz and Spanish Folk influences, not far from the sound of GUADALQUIVIR or IMAN CALIFATO INDEPENDIENTE.Most of the tracks are long with plenty of shifting moods, led by the soaring synthesizers and the electric piano of Josep Mas and the sharp, jazzy guitars of Sune.The spanish sounds are easily recognizable throughout the release, as ''Coses nostres'' contains tons of Latin vibes in its solos and melodies.The performances and arrangements are well-balanced, ranging from rich and incredibly dense musical ideas to softer moments with a more Jazz- or Acoustic-oriented sound, lacking a proggy flavor.Equally, the atmosphere of the album goes through dreamy and sensitive textures to more cold and technical soundscapes.However a very sterile production along with the somewhat thin synthesizer sound prevent the album from being a true must-have.

Nice, elaborate and captivating instrumental Prog/Fusion for all lovers of the style.Try to skip the disadvantage of the mediocre recording quality and focus on the great musicianship, you are sure to enjoy this album a lot more.Recommended.

Excelent Spanish Progressive Jazz Fusion Band. One of the best on seventies decade that play in famous Canet Rock music festival with, to me, another grat Spanish Fusion band called Barcelona Traction. This is an album in Fusion vein but with some Space psichedelic parts. This a fusion of Jazz music with Flamenco music influencies. This album has a thread common to all tracks, with an excellent quality in musical composition. We hear many great duets between keyboards and guitars. Despite being a purely instrumental album, this is a masterpiece that feel like listening again and again. Not a boring album despite have some calm parts, but the development of music we encounter surprises with very good guitar solos. Album mandatory for anyone who likes jazz fusion of the 70s I give 5 stars because it's really a masterpiece.