EL VALS DE LOS DUENDES

'El Vals de los Duendes' is one of the greatest prog efforts that came out of Spain in recent years. This Andalusian ensemble is highly influenced by their 70s forefathers Cai, Imán and Guadalquivir, as well as by Camel and 'W&W'-era Genesis, adding a notable bunch of latin-jazz fusion touches into their sonic palette (particularly, tracks 4 and 6). The magical and fluid interplay between all six musicians is punctuated by the constant successive soloing of lead guitar, wind instruments and keyboards, but all this soloing remains solidly faithful to the melodic demands of the respectiva themes, not to the logic of mere pyrothecnics; simultaneously, the rhythm section of drummer/bassist/rhythm guitarrist shows its precision and sensibility with ease and subtle proficiency. All in all, the repertoire is elaborate and sophisticated, without being too complex, which helps to highlight the catchiness of the major tunes. In my opinion, the first three tracks are the zenith of this album. The opener 'Casapuerta' exhibits progressive majesty all over itself, from the ethereal intro to the brief Flamenco-tinged center motif and, finally, the dreamy colsing section. The title track comprises the biggest amount of diversity throughout its various motifs, all of them linked to each other in perfect fluidity. the track begins in a frontal Celtic mood until it reaches a more avidly Camelesque vibe, only to further pursue a series of melodic lines that remind us of vintage Spanish prog with bombast and elegance. 'Ronda de las Dunas' is the most inclined to the introduction of Arabic colours and nuances, particularly in its captivatingly catchy interlude -- these three tracks are simply terrific and compelling. Other notable numbers are the obviously Camel-esque 'Como la Noche y el Día' and the introspective closing track, 'Mexicali', whose serene beauty I find irresistibly evocative, like a homefire that keeps the room warm after a hard day's work. 'Faro de Trafalgar' is a duet of flute and percussion, a world music-like attempt which works as a peculiar intro to the closing number, which I've previously commented on. Tracks 4 and 6 are the least symphonic ones, seeing the band going for a road of fusion on a Flamenco rumba basis: given the mood and tempo they chose, it is no wonder that the band's sonic textures stop being evocative and become more joyful. Overall conclusion: as my 4 star rating points out, this is an 'excellent addition to any prog collection'.