LA AUSENCIA DE LO SAGRADO

I've only got acquainted with Jorge Campos' music with the re-releases published by the Mexican label Luna Negra: one of these re-releases was a new version of La Ausencia de lo Sagrado, which bears a slightly different repertoire (a couple of omitted studio tracks and three bonus tracks recorded live). Either if you've got the original version or the 2007 new one, the fact remains that La Ausencia de los Sgrado is the ultimate expression (so far) of Jorge Campos' unique musical vision, a vision of avant- garde recaptiulation of modern jazz with extensive use of modern sonorities and electronic resources with an added awareness of the prog influence. The most prominent arrangements comprised in this album bear a distinctly epic vibe, which in no small degree is due to the elaboration of clever horn ensembles, as well as to the peculiar created by Campos and his guests during the well-crafted expansions of the tracks' main motifs and ambiences. 'La Ausencia de los Sagrado (Viaje)' kicks off the album with a mysterious aura, definitely dense although still apalling in its own terms concerning the building of pleasant under the mid-tempo rhythmic structure. 'Mar' follows in a similar vein to the opener to a degree, although it is clear right from the start that the musical basic idea is bolder: it somewhat reminds me of Western Culture-era Henry Cow, with an enhanced mystical spirit and a warmer spirit, less intelectual so to speak. 'Ansiedad, Amnesia, Anonimato' is a frontal statement of good electro-jazz (one of the most common artistic resources in Campos' music), but the fina lresults is heavily enriched with dense sonic layers, pretty much related to what had previously appeared on the opening number. 'Ansiedad...' has a more euphoic feel, an atmosphere solidly based on the combination of programmed and real percussions while the bass guitar's relentless phrases and the horn arrangements share duties in the limelight. 'La Cosa Loca' is a brief duet of contrabass and trumpet, very cordial, announced and closed by friendly laughters - this piece provides a pertinent sense of intimacy among the exhibitions of sonic adventure that make most of the albums' repertoire. 'Estación Paraíso' returns in full swing to the ralms of electro-jazz, with a patent fusionesque tone that helps the track to achieve a sort of candidness that works as a counterpart to the cibernetic coolness of electronica. 'Doimo' offers a shift of ambience, becoming the arguably weirdest track in the album: here, you will find much of the somer RIO-inspired textures that were so revealing in the first two tracks, and well, here they arre predominant, too. Anyway, the sense of mystery is heavily pronounced in comparison. The last few minutes build a disturbing climax that had been gradually announced in the jamming that had taken place through the previous minutes. Even though things tend to seem a bit nightmarish, things never get to be too explicit: a sense of constraint is cleverly used here in order to give preference to texture over pomposity. 'Yo Creí', which is almost as long as 'Doimo', bears a more relaxed feel, but it doesn't mean that the experimental spirit decreases an inch: actually, here is where the progressive element is more patent, under the recurrent electro-jazz scheme. The cello solo that emerges somewhere in the middle starts an interesting variation in the instrumental expansion. These two tracks are, IMHO, the album's pinnacles. 'Triálogo' is more similar to what pre-Pastorius Weather Report did in the realm of avant-jazz in the early 70s: that is, jazz-fusion with rich additions from avantgarde free-jazz. Joe Vasconcellos and Cristián Crisosto are two special guests on this number (the latter having been a Campos colleague in Fulano). The 'Aire' and 'Llamas' sections of 'La Ausencia de lo Sagrado' close down the studio portion of this 2007 re-release: both are sketches focused on elaborating simple, evocative nuances. The bonus tracks are taken from a Jorge Campos Kuarteto performance at an experimental music festival: they are clear indications of the level of intensity and free creativity that occurs on stage with Jorge Campos' music. Not for the wider prog audiences, but very likely to attract listeners devoted to the modern side of jazz and fusion, Jorge Campos is a real genius from Chile. La Ausencia de lo Sagrado is an excellent example of how music can be inventive while being receptive of the refreshing sounds of modernity.