LA OFRENDA DE VYTAS BRENNER

This is my first Vytas Brenner album and one of my favorites... The lineup for this record consists on a standard rock band (keyboards, guitars, bass and drums), a joropo llanero outfit (harp, cuatro and maracas) and an orchestral percussionist (who also plays some Venezuelan percussions). This unusual lineup contributes to give a very distinctive and unique sound to Vytas' music which represents a blend of joropo (the modern symphonic style heavily influenced by Aldemaro Romero), jazz, blues and symphonic prog. + The frequent appearance of a violin mellotron gives somewhat of a Moody Blues feeling to some pieces.

In first place I would divide this record into two main parts:

1.-Tracks 1 to 5: dominated by a mix of symphonic prog (40%) and venezuelan folk.(60%)

2.-The last three tracks: absolute and magestic symphonic prog with Wakeman-esque keyboards and Camel like atmospheres with the usual venezuelan touch.

Morrocoy starts with the right foot with a latin percussion demonstration, keyboard layers and an occasional flute. It continues with what will define Vytas' sound, a display of venezuelan- joropo driven-rhythms and melodies (with a powerful cuatro and a melodic harp accompanied by flute). Lots of virtuosity is shown here

Ofrenda de Miguel continues with the venezuelan theme with the occasional appearance of an electric guitar or a keyboard (mostly violin mellotron). This is basically a beautiful joropo piece (with the addition of the electric guitar substituting the cuatro every now and then)...not much rock going on here but still a great piece of music

Tormenta de Barlovento is a joropo-symphonic piece headed by the sound of the cuatro. Sort of a follow up of Ofrenda de Miguel

Frailejon begins to venture in a more symphonic prog establishment, that will continue throughout the rest of the album.A highlight of the track is a blues section starting at the middle (I've never heard blues played with a cuatro before... Just love it!)

La Sabana displays a more typical progressive sound -without leaving the venezuelan folk territory- starting with a symphonic intro and continuing with another drum and keyboard display as an introduction to the second part of the album.

I will describe the last three parts of the album as a whole because I consider them as one of the most magnificent symphonic suites of the history of prog. This suite exhibits the best keyboards that I have ever heard in latin america (outside latin jazz), that being contemporary to the monsters of European prog could be compared with musicians like Rick Wakeman , Keith Emerson and Jon Lord; these keyboards are then joined by Carl Palmer like drums (with this I mean almost orchestral percussions...) that are going to turn into the initial venezuelan percussions to finish with a summary of the entire album in Canto del Pilon.

This album is a masterpiece of prog and a must have for every prog fan in the world.... added to that it defines a new style of symphonic prog which merges Venezuelan traditional music with elements featured by bands such as Yes, ELP and Camel. A truly groundbreaking album!

This one deserves no less than 5 stars for its quality and uniqueness... perfect to listen while having an arepa....