THE TIDE TURNS

It had been a too many years period between Blezqi Zatsaz's first and second albums: keyboardsman-composer Fabio Ribeiro has taken his time before he finally gathered the repertoire of "The Tide Turns" and recorded it with partners on guitars, bass, drums and, occasionally, wind instruments. BZ's musical vein is the same symphonic trend that had been followed in "Rise and Fall of Passional Sanity", albeit, due to the most varied instrumentation (particularly, a major presence of guitar and the inclusion of sax and flute), the pompous tendency is more controlled, that is, ordained with a more discrete dose of grandiosity. But, of course, Ribeiro's keyboards assume the leading role all throughout the album, specially when it comes to laying the basic harmonics or displaying the orchestrations in the most epic passages of the repertoire. Wakeman is the most featured influence in Ribeiro both as a writer and a performer, and it certainly leaves an unmistakable mark on the band's overall sound, whose symphonic leanings may also remind the listener of their compatriots Tempus Fugit and Quaterna Requiem - getting into more detail, it's fair to say that BZ's sound is generally more consistent than the former's and less majestic than the latter's. The first 4 tracks epitomize what Blezqi Zatsaz is all about, with 'L'Etre et 1e Neant' and 'Parallel Paradise' bringing the most effective melodies and the most energetic performances. Immediately after, 'Thy Fake' takes a calmer mood, very much oriented toward the lines of neo-prog with a slight touch of jazz-pop: the soprano sax helps to create a somewhat romantic, gentle mood. But then comes the pretty much Baroque-inspired track 6 in order to spice things up again: 'The Well-Tempered Drawbar' may remind us of Trace to a large degree. 'Ways of Control' shows BZ at their most bombastic: this time, Ribeiro's keyboard work sounds less like Wakeman and a bit more like Emerson for the first half of this number, while the second half sounds more like Bardens-era Camel with a Yessian twist. The longest composition is 'Azzivullas' Suite', but not the most complex: in fact, this piece sounds more like a showcase for melodic symphonic prog adorned with some sort of new age thing. The extended room for the expansion of attractive melodies and the overtly stylish performing labor help to create a soft mood: more than epic, this suite is an emotionally rich excursion, designed to smoothly captivate the listener who enjoys the main motifs. The lyrical mood is perpetuated in the next track and in the first part of 'Soul Mirror', while 'The Gates of Itxlan' fuses the bombastic and the lyrical fluidly. Finally, 'Once and Again' closes down the album as a sort of epilogue: a repeated motif is effectively delivered with successive slight variations in a pompous manner. This is a very good album, indeed, which shows a clear improvement from the previous BZ album: "The Tide Turns" would make an excellent addition in any symphonic prog lover's collection.

This second (and last so far) album from this Brazilian band is more achieved than their debut which was released some nine years prior to this one.

The same great musicianship and gorgeous keys (from Fabio Ribeiro who is the head & soul of this band, or project as he called it) are felt throughout the whole album which is fully instrumental. There are undeniable Yes, ELP or Genesis influences on the synths but this is fine with me like in Parallel Paradise or Ways Of Control. This last song is excellent and features some very nice fluting and superb guitar, really.

Most songs have an excellent bombastic flavour; but the music is not pedant therefore. Gifted people playing inspired and symphonic music: that's it. Maybe that some nice and melodic vocals wouldn't have hurt but so is it.

With so many members in the band, it is no wonder that some sections of this album sounds really grandiose. The guitars during Thy Fake are so wonderful. It is one of my fave track.

Classic music are often mixed with prog elements (The Well Tempered Dunbar) and as such are quite interesting. They are really burned into modern prog music. I am not a deep lover of classical music, but I can stand these parts very well.

Most of this (long) album is a pure enchantment for the listener. The pastoral and so moving Azzivullas' Suite leaves me speechless. The intro is just phenomenal; it's just a pity that it only lasts for two minutes (the intro I mean). It is the epic track of this album and the fluting is pretty extensive and adds a very light feeling to the ensemble.

The beat changes are exceptional and this song is probably the most bombastic of their whole work. Some sort of ELP, with added emotional fluting and passionate guitars. Can you believe this?

The whole band is at his best here and I would like to have a special mention for Hugo Hori who has a major role on flute and sax: he is simply brilliant. I like this piece of music very much. It is a highlight, but frankly this whole album is such a magnificent travel into the world of symphonic music.

After some weaker songs, the band comes back as strong as ever with the splendid Gates Of Ixtlan. It is another fusion of keys and guitars which should please any symphonic passionate.

I will rate this album with four stars. A bit too long maybe. But still, it is a solid and extremely pleasant album. It is only a shame that only one commented review before mine was posted for this excellent album. Wake up guys, there's a good Brazilian band out there!

Keith Emerson has a lot to answer for.

This Brazilian band is really the project of Fabio Ribeiro and the other musicians here is hired hands, if I am not wrong. The result is an album that both gives pleasure and some frustrations.

Some of the more grandeur melody lines here is good. The opening track L'Etre et le néant is a great track. Then this album is heading south and pretty sharply too. The main problem is this keyboard noodling with some guitars too thrown in on melodies which is simply not good enough to fulfill the ambitions of this album. This album is not bad. It is just pretty dull at times and nose dives into the Muzak category. Elevator music or shopping mall music in other words. This music does not have balls and no soul. When that is said, this a good keyboard driven symphonic prog album and if this is your cup of tea; you should probably purchase this album. I have to admit that this album is not for me. A good album, but nothing more.

3 stars