JOSÉ LUIS FERNÁNDEZ LEDESMA

Jose Luis Fernandez Ledesma is at the top of the food chain when it comes to Avant-garde music from Mexico. I cannot tell you how talented he is at composing, and playing the many instruments he's mastered. I have five of the ten studio albums he's released, and all are wondrous 4 star recordings that are over my head, but I am fascinated with his music. There's a darkness and mystery about his compositions that might be at it's zenith with this 2006 release.

Chris Cutler the great HENRY COW drummer had this to say about Ledesma's "Sol Centrale" record, and I quote "Densely written, imaginative and beautiful realized with much advanced use of voices, layering of parts and rhythmics juxtaposition, where electronic and acoustic are perfectly mixed. An impressive release." That was for Ledesma's 2000 release "Sol Centrale". This record "La Paciencia De Job" has more in common in my opinion with the 2002 album "Al Filo", and I will list my five favourite albums of his at the end of the review.

First of all the list of instruments that Ledesma plays are as long as my arm. Plus we get nine guests adding various instruments. His musical partner Margarita Botello adds her vocals and keyboards mostly. This is a tough listen just like that record "Al Filo". Experimental soundscapes lead the way, but there's much more to this once you dig deeper. Certainly the short track "No Te Pude Contestar" has a brightness to it that stands out from the other eight tunes.

Still, this is an album that needs my undivided attention in order to appreciate what's going on. This is such a dark recording at times with two of the guests adding bassoon, and Ledesma and Botello both add harmonium. Music like this excites me because there's so much to it beyond the surface. On the other hand it is difficult to digest at times. Very rewarding regardless. Tons of atmosphere as well and at 70 minutes this album requires the patience of Job at times.

I have my five favourite Ledesma cds sitting right here in front of me, and I highly recommend them all. "Motivos Para Perderse", "Sol Centrale", "Al Filo", "Designios" and "La Pacienca De Job". Thanks for all the music Luis! I'm on now to check out another project that he and Margarita are on called SAENA.

No wonder José Luis Fernández Ledesma & Margarita Botello´s Sol Central (2000) rates so good in this site.

Rich in daring compositions and stylistic directions but mantaining coherence in its whole structure, each track (there are 8) showcases extremely good musical ideas in the true spirit of RiO´s disruptive musical language and the same it holds on to a keen sense of irreverent and raw humor.

As mentioned this Sol Central covers many stylistic grounds and some distant musical references to Univers Zero, Art Zoyd, Frank Zappa & The Residents which are subtly splashed here and there but never substituting Fernández Ledesma´s own musical idiom.

One of the key ingredients which makes this album so undeniably unique and yet not overexploited in its use is its connection to its geographical roots. Yes, if you live or had lived in México these elements will pop up like fireworks on any given Sunday if not its eerie endearing nature will drift swiftly into your ears as exotic postcards from a mysterious and somewhat wild nevertheless spellbinding land .

Usually I am no big fan of sung compositions, I do prefer instrumental music, however I am no fool as to deny myself the pleasure of listening to songs which hold the perfect balance and doses of lyrics moreover if they are as inventive, respectful to the music yet freely chaotic and humorous as this record displays.

An unmissable addition to any RiO/Avant Prog collection and some other curious cat´s one.

****4.5 PA stars.

In 2000 another archival recording of Ledesma comes to evidence, an album said to be originally released in 1993 on cassette and survived now on CD format by the Mexical label Smogless Records.On ''Dicen que somos dioses y nos sonamos hombres'' Ledesma collaborates with his long-time partner and singer Margarita Botello and percussionist Raul Flores, while his guest list contains some 10 names, most importantly bassist Hugo Santos, later to become a bandmate of LedesmA on Saena and original member of Luz de Riada.

Most tracks show Ledesma performing on keyboards and traditional strings, Botello singing and playing the piano and Flores handling the percussion, but each of them includes one or more guests, the significant presence of whom directs the music to either symphonic, jazzy or folkier territories.Additional instruments include oboe, sax, guitars, pipe, cello, flutes, trumpet etc., so you can easily imagine how versatile this album is.But Ledesma has proven to be an excellent composer over time and he somehow manages to keep a tight bridge between all the pieces, this work appears to have an easy flow from start to the very end, despite involving pre-Hispanic, Jazz, Classical and even some experimental orientations.This link is propably the mood for an always romantic, elaborate and delicate music, propelled by the use of acoustic guitars, the clean, choir-like voice of Bottello and the elegance of traditional instruments.Some really great orchestrations in here, featuring a plethora of keyboard preludes and interludes, swinging with more acoustic textures and light symphonic movements with wind instruments and piano.There are of course still some electric Prog Rock in here, recalling Ledesma's stint with NIRGAL VALLIS and driven by soft keyboard/guitar interplays, but once more the true majesty will be found here in the originality of the more acoustic pieces and the unique combination of female voices, folky influences and keyboard arrangements.An album flirting often with Folk-Fusion through the mellow but very adventurous interplays and an overall jazzy feel in the acoustic interactions.

Among the great works of Ledesma.Remember, this is still 1993 and the music is pretty excellent for a style that has not fully returned.Lovely collage of Folk, Classical and Fusion the result is.Strongly recommended...3.5 stars.

Ledesma followed his impressive debut from 1996 with yet another solo album called ''Extractos'', released in 1997 and belonging among the first productions of the emerging Mexican label Luna Negra.Most of the musicians appearing in ''Motivos para perderse'' are present here as well, but the line-up was actually quite expanded with 10 singers and musicians helping out in the 14 displayed compositions.Ex-Nirgal Vallis guitarist Alejandro Schmidt teams up with Ledesma again in one track, playing the electric guitar.

''Extractos'' sounds a step closer to atmospheric Prog Folk, having a more peaceful, gentle and relaxed side compared to Ledesma's debut, always driven by the Mexican's beautiful keyboard and piano passages and exhibiting an array of traditional instruments, the final result coming close to the mellow sound of Italian's HOSTSONATEN.The basic lines of the album are built around the work of Ledesma on acoustic strings and a nice combination of synthesizers, electric and acoustic piano, producing rural soundscapes with a slightly atonal mood and an overall ambiental approach.The music becomes occasionally richer with the addition of percussion, violin and wind instruments and obtains a dreamy feeling via the presence of the guest female vocalists.The MIKE OLFDIELD principles become also apparent during these tracks, some of them feature a discreet touch on electric guitars.Ethereal folky orchestrations with a genuine identity, which could have a been a little more energetic.But Ledesma never forgets about his previous days with NIRGAL VALLIS and certain pieces in here, especially the longer ones, still retain a symphonic atmosphere with more pronounced electric guitars and keyboards.The music of course remains very delicate and polished with some dark parts at times, led by Ledesma's tricky synth, organ and piano plays, which result to some fine instrumental Progressive Rock with a challenging sound.

I can't say that I am that impressed by this album after Ledesma's fantastic debut.It is less balanced and more towards ambiental Prog with folky colors, but the arrangements are always of high class with good use of acoustic instruments over a palette of keyboard flashing.Recommended.

J.L. Fernandez Ledezma's "Al Filo" (2002), is intricate and enticing. It will be a shame to just pin it down to a specific "tagging".

Song writing progresses in each track to opposite moods. From the "dark" chorales of "Las Siete Columnas" its first track, to an immediate change of pace with the beautiful single acoustic guitar composition "Presencias". Both worlds come togethet in its third track "Oniromante", where all time collaborator Margarita Botello displays her talents in "invisible" singing. "Espejismo" the fourth track, as its name suggests, is an almost ethereal track, full of minimal hypnotic structures, which turns to be an exquisite background for both electric and acoustic guitars to come forward and then just vanish. These songs could be enjoyed by any kind of Prog-audiophile.

Next comes the mysterious 5th track "El Triangulo" this one is closer to electronic/acoustic experimentations. What makes it tick, is the extraordinary structure constructed solely with long flowing flute notes and menacing eerie lament like choruses, which makes it quiet clear why this musician was included in the RiO/AV prog sub-genre.

As the tormentous sky clears away, comes "Ojo de Venado" the sixth track, a more dynamic even festive song, with a blend of up-front Rock and a rain of not very Rock likely instruments vanishing all borders with his always great sense of musical composition and arrangements. The heavy 'RiO" bass is delightful.

After the "party" things slow down again in probably the most beautiful song along with track 2, "Las Cuatro Imagenes" ("The Four Images") the seventh track. Its minimal intrumentation brings it close to the best kind of "ambient" music. Again the marvelous voice choruses, the recurring guitar theme into a parallel harmonic environment even more "naked" than its introduction, but with the howling grief of a distant sax and its counterpointing sister flute. As the song evolves the "third" image" appears, to shower the track with an up-beat rhythm and "close to heaven" musical arrangements and song writing. To wave the day goodbye comes along the ephemeral dark closure, the "fourth image". Full of chaotic yet distant choruses. The 5 star song of this project .

To end things up track 8 "El Enyerbao", a mixture of prog/electronics and "native" music, which sounds as an extremely refined ritualisic "Residents" tribute. Short and fun.

I highly recommend this album to any follower of prog, but with a taste for the Avant Garde!

****4+ my review, PA stars.

Admirable heir of the RiO/AV founders. Must be heard to believe!

Some reviewer points out, wisely, that whenever you see this musician's name on an album, do not hesitate to aquire it. Well I did and glad to have done so. Here is my review.

In the true manner of this Prog sub-genre's greatest talents, this mexican multi-instrumentalist, composer, is brave and daring enough, to add up his own musical "discoveries" to this quiet chaotic and extense "musical planet".

For starters his language has a wide scope of "moods" and directions. From symphonic to heavy/prog to electronic to folk and other routes. Not everything is as the art cover suggests, a dark grieving matter. Next and best, there is no close connection to any kind of mexican transvestite "folkloric" music, apart from its some songs being sung in spanish by vocalist Margarita Botello. Let's say this music has no exact physical geography, besides its inherent place among "universal" great music.

It is epic, it is poingnant, it is restless, it is eclectic and sometimes, if required, it is sweet and soft.

It is enticing. It holds no unecessary "paraphernalia". This music is extremely well balanced and intelligent, yet unpretentious, but still excitingly daring. It reminds me of a lot of bands, but never to the point of surrendering its own musical idiom, which is quiet a thrill and an unexpected surprise.

Therefore, whenever you are "lucky" enough to see JOSE LUIS FERNANDEZ LEDESMA's *"Dicen Que Somos Dioses y Nos Sonamos Hombres", get it asap, you would not regret it at all! *"They say we are Gods and dream ourselves Men."

****4 + my review, PA stars.

José Luis Fernández Ledesma is a Mexican keyboardist and composer, also the founder of the 80's Progressive Rock band Nirgal Vallis.After the demise of the group Ledesma focused on composing his personal ideas in a solo project.For his first album he collaborated with female singer Alquimia and four more musicians on bass, guitars and saxes, while he handled all keyboard, percussion and ethnic instruments.The material was written in 94'-95', eventually released on Musea Records in 1996 as ''Motivos Para Perderse'', around the time the French label published the 80's works of Nirgal Vallis.

Having a strong Folk background already from his time with Nirgal Vallis, Ledesma proposed in his first work a somewhat cinematic mix of Ethnic Music, light Progressive Rock and Fusion, very intricate though at moments a bit too soft yet always attractive.In ''Motivos Para Perderse'' the listener will face the two different faces of Ledesma.The first is deeply rooted in Mexican Folk and interpretated in the album through mellow acoustic textures blended with traditional folky tunes (offered by the performance on sax, ocarinas and mandolin) and lush keyboard sounds in the background.Very atmospheric and highly esoteric musicianship.The second one comes straight from his days with Nirgal Vallis.Intricate Progressive Rock, very much driven by the work of Ledesma on synthesizers, and containing plenty of shifting climates with light solos and interplays, reminding a bit of PABLO EL ENTERRADOR.Guitars are used sporadically and the arrangements are strongly based on piano passages, fiery synth solos and lush orchestrations.

The whole listening brings to mind the diverse works of HOSTSONATEN.A great mix of challenging Progressive/Symphonic Rock with Ambient Folk textures surrounding the most demanding material.Beautiful stuff and highly recommended.

Wonderful!

When one is familiarized with a band or artists, it is common to share the same thoughts regarding their different albums and compositions, with Jose Luis Fernández Ledesma's music happens that I always end up with a huge satisfaction after listening to his music, because it is not the conventional kind of prog rock, it is really original, dynamic and diverse, so I share the same feeling with all the albums he appears (the ones I've listened to, of course). And what a better way to share these feelings than writing a review, besides, I help a little bit spreading the word, inviting people to listen to this Mexican progressive rock icon.

"Al filo" is an album released in 2002, one of his better known works along with "Sol Central" and "Designios", here as usual, Margarita Botello is an essential piece of this puzzle, helping Ledesma in every composition. This album consists of eight compositions that make a total time of 69 minutes; we will find six average-length songs, while we will also listen to a 10-minute track, and a 24-minute epic.

The first song is entitled "Las siete columnas", relaxing ethnic and environmental music can be heard in the first moments, after some four minutes Botello's voice can be softly heard, while strings, percussion and synth create the background that never stops, taking our souls and essence to a different world, sharing peace and harmony. In the last two minutes a male voice can be also listened, spreading the inherent ethnic and even new- age-like sound that Ledesma's albums have.

"Presencias" is a short acoustic guitar track that shares serenity and ease during its four minutes. It is linked to "Oniromante" in which the female voice returns accompanying the acoustic guitar, the wonderful soundscapes and the delicious ethnic percussions. After two and a half minutes the intensity increases, the volume is higher as well as the emotions; a flute enters along with more percussion, vocals and a superb synth work. In the last minute it slows down and offers a delicate passage with acoustic guitar.

"Espejismo" has a weird sound that clearly shows the avant-garde tendencies of this composer, who besides Botello, is complemented by two guest musician's talent: Raul Flores, whose help in the sounding structure for this particular track was essential, and Germán Bringas with a saxophone. The second part of this track has the addition of the electric guitar for some moments; later we will listen to soundscapes and the female voice as background fading out delicately.

"El triángulo" follows with the ethnic and atmospheric path, however, here I can feel some uncertainty and fear in some brief moments, I mean, compared with the previous tracks, this one makes me open my eyes and lose the peace I had, which does not mean it makes a failed song, no, it simply provoked a different thing on me and only in brief passages, I repeat. "Ojo de venado" has a more pastoral sound created by flute, strings and percussions. Later the bass creates a darker atmosphere, while the electric guitar keeps doing its work, and the diverse percussion instruments complete the body. Just before the fourth minute the song becomes more intense, with higher intensity and energy, however it lasts only for a minute because later it slows down and finishes with a soft sound contrasted with a strong bass.

One of the most complex and challenging compositions in Ledesma's repertoire has to be this 24-minute song entitled "Las cuatro imágenes", which is divided in four passages. A warning here: you better listen to it (and the whole album, by the way) with good headphones if you truly want to appreciate the diversity of textures, colors and nuances offered; another warning, do not listen to it when tired, because you may feel deeply relaxed and fall asleep (not because it is boring, not at all, but because its purity and laid-back mood may soften your mind and soul). In this track we can listen to the exquisite saxophone, along with the already known elements they have shared in the previous tracks. In the different passages of this epic we can appreciate how it changes, how it fades out and reappers, and how it progresses. One of my favorite moments is the folkish and ethnic sound produced after 15 minutes, with a richness of elements, a soulful structure and a tune that immerses us into their realm.

The last track of the album is "El enyerbado (pilón)" which is like the extra track of "Al filo". This song features percussions and the inherent ethnic sound. Well, here the quality of Fernández Ledesma is evident once again, he composes challenging and not-so-easy-to- dig music, but once you appreciate it, you will surely get caught by its charm. This album is guarantee of quality, howeve, I admit it is not my favorite of him, it does not reaches the perfection that I found in others (I said I found, because after all subjectivity is what counts here), that is why I am giving four stars to this album, which I highly recommend to fans of original ethnic prog.

Enjoy it!

And this Mexican musician never ceases to impress me!

For those who don't know, José Luis Fernández Ledesma is an iconic and incredibly talented musician from Mexico, who has worked in several projects such as Nirgal Vallis or Saena, and with the help of his unconditional partner Margarita Botello, he has released a vast amount of "solo" albums, in which we can appreciate his compositional skills, and a richness of sounds. Back in 2000 he released "Sol Central" which has been by several people named as his masterpiece. It is an album that comprises two compositions, though the first one can be divided in seven parts.

So that first track would be "Sol Central", a complete 36-minute song, but since it is divided and each piece has its name, I will review them one by one. "Datura Inoxia" starts with a soft atmosphere and the beautiful voice of Botello, but seconds later it explodes all of a sudden creating a surprising and chaotic atmosphere. Since this first piece, we will notice that the album is full of changes, colors, textures, nuances, sounds, everything, it is vast and rich music. Returning to the piece, I love the keyboards and how they put a specific mood; worth mentioning the guitars and other arrangements, because this is first class music, written and performed very intelligently.

"Amnesia" has a totally RIO sound, the female vocals of Botello and the prominent oboe may remind you to Art Bears or Henry Cow. This is the shortest piece, but one can find a wonderful package of musical and visual elements here, you have only to close your eyes and let the music do the rest. The vocal game here is actually wonderful. "El Avatar" is one of my favorite passages here. I love its first seconds with that tense atmosphere; the keyboards and piano play here a leading role, because they mark the rhythm and create the ambient and sensations. A thing I like a lot from Ledesma's album, is that intercalation of pure instrumental passages, with the parts where Botello's voice appear, all are well- crafted and performed.

"Por los cuatro costados" is a beautiful, relaxing and atmospheric passage in which we will listen to the environment, accompanied by a soft oboe and some distant percussion. Three minutes of tranquility. "La gran feria" offers the opposite, in spite of its first five seconds, then the song becomes a bit crazy with some drum loops and some peculiar voices. To be honest this part really makes me nervous. Though I truly enjoy the contrast between passages, this may be my least favorite of the whole album, though it is cool how it represents some of the Mexican folklore.

"Ciencias Celestes" is the longest part of "Sol Central". I like how it is gradually progressing, adding new elements little by little. The guitar here is crucial, so I invite you to put attention to its development through this track. After four minutes there is a noticeable change, where it slows down a little bit, repetitive bass lines appear, and a inclusion of a trumpet can be heard, giving it new nuances and producing different images. Then you let the music take you to its realm, and you will feel calm, easy, and grateful.

The final part of the long epic is "La de los acertijos" , in which we will once again find a richness of elements, some of them creating a folkloric sound that may have a taste of Mexico. This is a weird track, the vocals actually sound pretty strange, but it perfectly complements the music, the structure and what this hearing experience offers.

The second (strictly talking) and final track is "Pueblos Perdidos", which is an exuberant nine-minute track. It retakes the trumpets used from the previous tracks, and it really works as an attraction, I feel captivated by its sound, while the atmospheric synthesizer puts its background. Later Botello's voice join and shine once again, all together create this beautiful and extraordinary final track.

What a great album, though I have to admit my favorite is still Designios, Sol Central can easily be adored by any progressive rock fan. My final grade is 4.5, but I will round it to five.

Enjoy it!

If you ever see an album by this man please buy it. Fernandez Ledesma is a genius at arranging and composing music. I have the two albums that came out before this one and also his debut and all of them are not only amazing but different from one another.The common thread is that Avant- garde style. And to be honest that's what threw me when it came to "Designos" and that's why i'm listening to it for the fourth time today. I wasn't expecting such a Symphonic / Folk album with the vocals of Margarita playing such a major role. It's all so good though, I just had to accept the style and then sit back and listen. Lots of that today (haha). It's hard for me to put into words how emotional some of this music makes me feel.Sure there's lots of songs and passages that don't but man this is all good. What's amazing is that on the surface this seems less challenging and adventerous than his other recordings until you really listen and realize how complex the music and arrangements are. And the lyrics ! My God ! It may be sung in Spanish but when I read the English translations I was overwelmed with such imagery and poetry.

"Ave Luz" has these intricate acoustic guitar melodies as the flute joins in. A beat with vocals joins in quickly. "Salt scented and windy dream. A lost angel drowned by the shore, of shade and name each dawn reminds me; same old days of salt and sand". A calm before 3 minutes then it kicks back in to that earlier soundscape. Some absolutely moving passages here. "Muro Ciego" opens with percussion as a stringed instrument comes in then vocals.A bass horn I think follows in place of the vocals as they take turns.

"Saena" opens with keyboards as drums and synths join in.Great sound here. Flute and percussion follow then violin before 3 minutes.Vocal expressions before 6 1/2 minutes to end it. "Cancion Para Un Solo Dia" is uptempo to start and mostly throughout. Lots of percussion and vocals.Violin before 3 1/2 minutes. "Abismo" has lots of strings and ethnic instruments.Vocals before a minute in this folky track. My least favourite but there's some killer bass 2 minutes in followed by synths as the bass continues to throb.The second half is much better than the first half of this track.

"Los Designios De Cominis" is the almost 18 minute epic. Flute, bass and strummed guitar to start. Organ and vocals take over then it picks up after 2 minutes. Flute and synths lead after 4 minutes. It then kicks in. Love this part. A haunting calm before 6 1/2 minutes.Violin before 9 minutes as it stays mellow. It then builds to a full sound as the tempo and mood continue to shift. Another haunting calm after 12 minutes. It kicks in pretty hard 13 1/2 minutes in. Nice. Great track. "Punta Cometa" is another track like the opening one with lots of moving moments. Atmosphere to start then music a minute in and emotion as vocals join in.

This has really grown on me to the point where 4 stars seems to little. I just can't go higher than that yet. A must for Symphonic / Folk fans who like a little adventure thrown in.