JEAN-PASCAL BOFFO

All ten tracks are absolutely first-class workouts that have energy, spirit, melody, and atmosphere in spades (as well as clubs, diamonds, and hearts). Boffo's guitar technique, while remaining quite unique, does have similarities with Oldfield in terms of melody, but one can throw in a dash of Andy Summers, Robert Fripp's more mathematical playing or even a hint of Andy Latimer. These splotches of electronica, jazz, blues, and prog make this a unique tapestry of exhilarating musical adventure that should not go unnoticed.

All tracks presented here are highlights, such as the breezy Saharan feel of the terrific opener "Fly Away", the bouncy space rock of "Cosmic Blossom" and its wobbly guitar lead (reminiscent of Chris Isaak's Wicked Game) adding a bruising bass line that is breathtaking. "Childhood Dream" shuffles along with insistent shimmering guitars, a bluesy masterpiece with more rolling bass and solid drums pushing the mood along, followed by the serenely moody "Seed of Light" that chooses to toss in some mathematical phrasings that are as stunning and intricate as those expounded by the Crimson guru. Things become dreamier with the Camel-esque aroma on "Epicycle", where the lead guitar line has a melody that is absolutely exquisitely chiseled, I must have heard this in my mind when I was a child, it seems that familiar and comfortable.

Moving things along, "Blue Nebula" has another jubilant guitar strain that just screams out excellence, faithfully accompanied by an assortment of sequenced synth pings and pongs, in a cascade of sound that impresses to no end. As a counterpoint, the aptly titled "Inner World" offers a placid, contemplative pillow of sound on which the surfing guitar can stretch out finely woven threads that seem to glitter in the blazing sunshine.

Back to more electronic mayhem with the clever "Connection Breakdown", probably the most experimental piece yet, what with all the manic snippets of folly twisting in and out, while a reptilian bass line ravages the undergrowth, with frenzied drum patterns akimbo, the entire attitude spastic and slightly deranged. "Space Time" is a reload into more celestial realms, introducing various voice effects, until the overpowering guitar takes the stage with a whopping solo, building up into a vortex of sound, all control and effect, that will blow some minds, I am sure.

The majestic beauty of "Night Sky" takes this to bed, as one can be found lying on some fresh grass, peering up to the stars and taking in the unfathomable beauty of the universe. Marshaling drums serve as a guiding light for the sensuous guitar solo that shows only restraint and feeling, The Conservatory of Metz choir adds an angelic quality that is grandiose and divine.

A tremendous instrumental release, his best work yet, of that I have no doubt. This needs an audience. The artwork, sound and production are top notch. Give it a serious listen and maybe a review .

4.5 Motivated swirls

"Fly Away" goes on a hovering electronic track, an experimental RADIOHEAD thing with Thom at the helm; repetitive minimalist with a catchy chorus like a melancholic mantra. "Cosmic Blossom" bluesy title, slide guitar, bass forward; slow musical cascade in declination with the rising guitar, which forces attentive listening, tribal break before leaving again feeling musical water waves behind the ears. "Childhood Dream" drives the point home with a plaintive guitar, bordering on melancholy on a haunting tune; we feel the current cinematic fashion flirting between BOF and nonchalant air where rhythmicity is put forward. "Seed of Light" returns to a repetitive electro-dub work where the Crimsonian guitar comes forward; memories of FRIPP's work with ENO and a cheerful and melancholic trance at the same time. "Epicycle" sends me back to Eddie MULDER's latest opus 'Blind Hunter' with this country guitar-movie soundtrack that flows endlessly; it's beautiful, it could last a long time without disturbing with an agreed air that takes you to the guts.

"Blue Nebula" with a JAPAN sound in intro quickly erased by the magic guitar of Jean-Pascal surfing on the ambient cloudy waves; the minimalist synth makes it possible to amplify this feeling up to a sampled amalgam that can recall 'Furyo'. "Inner World" starts with a slow bossa nova ambient movement, with a bewitching atmosphere that could pass as slow Andalusian for a western film, inventive, psychedelic. "Connection Breakdown" for the most 'barge' track; connection of different genres with ZAPPA, FRIPP, tortured title stamped space-synth-trip. It sounds avant-garde, tonic, tribal for extra-terrestrials in need of music. "Space Time" spatial melancholy spleen precisely with voice-over as start and agreed title saved by the more exuberant guitar at that time. "Night Sky" ambient electronics with a spatial crescendo, soft, introspective, on notes of the first SCHULZE to help understand the sound; aided by an airy chorus bringing the title far, high, beyond the clouds; meditative and dreamlike.

Jean-Pascal BOFFO releases a different album, less melodic, more introspective, where the sounds leave on cold electronics above all, enhanced by his guitar playing. An intimate, melancholic instrumental to spend a beautiful evening, alone or in company, at the limit of electric and progressive space rock and melancholy melodies; a universe with proven spleen to sink into his meditative compositions. This album is an invitation to indulge in listening.

This isn't really a prog record, and it's tough for me to peg Boffo as a prog musician. He seems like a chameleon, going full fledged prog in the beginning of his solo career, then some lite fusion, followed by more guitar centric (often acoustic) albums.

I don't need to speak French to realize this is a concept album about flowers.

There's instrumentals with enthic flavorings mixed with some vocal pieces, words in english. A subdued, pretty album, but I don't reckon this will find the top of my stack anytime ever. There's no real dynamism that attracts me, loud or soft. I could, however, see myself listening to an album like this on a train ride in the mountains somewhere. 2.5 stars

I'm sure I'm in the minority, but so far I'd rather listen to this artist over Steve Hackett. I found his discography rather mediocre, weak, too idiosyncratic and incoherent for my tastes.

Carillons has a natural flow and the accessible rock is definitely progressive. The first two songs set the table and are the standout tracks for me. The second side really makes excellent use of instruments and space and sounds like the best fusion band Steve Hackett never came up with excellent keyboards too

My non expert opinion is this guy is one of the most criminally unknown on the worlds' guitar scene. Certainly not a masterpiece like I feel the follow up is but at the top of the best and most pure prog albums I've heard to come from the 1980's

It's always fun to dive into new artists and find new nuggets. This nugget from 1988 (!) is pure prog with long instrumental symphonic passages mixed with slower, more pastoral sections featuring flute and other winds. The music flows with epic grace and stands toe to toe with the best prog out there. The discerning ear can definitely tell this album is from the '80's but it's not overly saturated sterility. This is organic prog that holds the listener and engages until the very end. The first three movements of the title track are a certain highlight, the first side is nearly flawless and the five minute closer "Sacrifice" is very potent as well, my favourite track on a killer record.

I'm not ultra familiar with this artist but I'm looking forward to becoming more acquainted over the years. Most of his releases aren't pure prog, but on Rituel Prog fans of all kinds will find a lot to like. 4.5 rounded up because it's from the eighties - this album is worthy of high esteem

According to my tastes, I definitely picked the right first album to start with. This is a guitar solo record through and through with the other sounds (loops, keys, samples) only used to enhance the melodies. There are some atmospheric pieces, but overall this is a modern guitar album that flows nicely.

I'm reminded of a few things as this album spins - the overall sound is reminiscent of the John Scofield Uberjam project from the early 2000's. This also sounds a lot like many of the contemporary Bill Nelson albums I've listened to. Lastly, Boffo's guitar tone brings to mind American guitar player Cornell Dupree, a sideman supreme who has worked mostly in the Jazz and RandB realms.

Anyway, the mechanical beats choogle, the keys supply the atmosphere and the guitar sings. Great for putting your feet up, closing your eyes, and riding the wave for fifty minutes. Boffo is now at the top of my listening list, I've read here and elsewhere he has a few strong late '80's prog offerings. The more I get into French prog, the more I realize how influential and interesting it is overall.

The addition of the new members forced apparently a switch in music style and ''Carillons'' abandons the somehat folky sound of Boffo's debut for a much more electric enviroment, which now comes even closer to MINIMUM VITAL's sound or even better to STEVE HACKETT's works from late-70's/early-80's.The sound had become more dynamic and grandiose, but the atmosphere remained dreamy and ethereal in an awkward way, characterized by the impressive guitar plays of Boffo and the quirky synths of Batis.The style is basically a light Symphonic-Fusion with a deep sense for striking melodies but also evident tendencies towards technical efficiency, but Boffo's music journey is, as expected, memorable and delicate, despite the tremendous instrumental accuracy of his group.Most of the tracks are fast-paced with constantly changing solos and leads in the guitar department and a great dose of symphonic and jazzy keyboards.The acoustic lines are extremely limited in specific pieces, so are the folky leanings, and the new proposal is full of cinematic textures, fairytale melodies and elegant atmospheres, sometimes reminiscent of CAMEL.Great music, which is interrupted only a couple of times by laid-back numbers with a slight New Age/orchestral feeling, mostly based on keyboards, acoustic guitars and sampled effects.

Yet another very good album by the man, who dominated the French Prog scene during the 80's.Melodic Symphonic/Fusion in the vein of STEVE HACKETT.Strongly recommended...3.5 stars.

The first part if the album is started by a tryptic which gave this album its name. The first part of this tryptic is one of the greatest prog track i heard for a while. Well influenced by the bolero of Ravel, this instrumental is building up gradually to offer sumptuous solo of oboe, bassoon, keyboard etc...The Quality of the rest of the album stays really close to this opening. The album is full of beautiful melodies played one after the other and well executed by the various imstrumentst.oboe, viola, harp, clarinet and more.

Jean Pascal Boffo, guitar virtuous, is far from showing off here and seems to prefer to leave his companions on the front stage and only appears for few solos and beautiful part on the acoustic guitar.

The album is mostly a symphonic instrumental album and the voice only appears on one track, the zeulh inspired «Andhowande».

This album is sadly not very popular in the prog community but i would strongly recommend everyone to give this album a chance.

'Carillions' is fully instrumental and obviously dominated by the lyrical electric guitar. The keyboard with typical 80's sounds is more than a supporting act and provides a dynamic background as well often answering the guitarist with short solos.

The best moments are: the entertaining first track 'Bienvenue au Pays', the longest track 'L Ile au Lutin' starting with a gentle acoustic guitar over dreamy layer of keyboad. 'F'te en Perspective' with a welcome piano and 'Horizon' and its fantastic guitar work.

Jean Pascal Boffo, has been promoting the rock progressif cause for the last 30 years, and should be more known and respected in the progressif community and this great album of symphonic rock will prove it.