PROOF OF CONCEPT

So now I purchased my "Proof of Concept" copy and confirmed my absolute adoration for KBB's jazz-prog vision. This has to be one of the most amazing prog highlights of the year, yet another masterpiece in KBB's impressive résumé. "Proof of Concept" pretty much follows in footsteps of "Four Corner's Sky" regarding sonorities and mood, albeit putting a somewhat greater emphasis on the powerful side of the energetic moments as well as the lyrical side of the introverted ones; you can also notice a reinforcement of the folk element when some exotic melodic ideas come to surface. The album kicks off with 'Inner Flames', an "old" piece that had already appeared in their live album and DVD: this studio rendition genuinely replicates the fire displayed in the previous versions, which shows how well can these guys express their emotional heat through their instruments, bsedies their technical ability. The incendiary violin and synth solos, the elegant vivacity of the rhythm duo, the harmonized cadences displayed by the bass and violin at unison, all these elements are majestically expressed in the almost 10 ½ minutes occupied by 'Inner Flames'. Such an intense opening can only be succeeded by a contrasting piece, one with a more defined melodic candor - this pretty much explains what the beautiful 'Weigh Anchor!' is all about, a manifestation of romanticism and serenity, solidly portrayed by Tsuboy's violin (it reminds me of the Goodman-Hammer album). 'Stratosphere' comprises two distinct sections. The first one digs further into the deepest ends of introversion first alluded in the previous track, now being less romantic and going more toward the mysterious. There is a sort of "contraint" crescendo that keeps things elegantly crystaline, delivered in a firm manner while keeping the emotion intact. Next, the second section brings a very powerful, uptempo motif on a 7/8 signature, in which the light of frenzy shines with total brightness: the emergence of Arabic tones in the violin and keyboard solos are captivating, especially a very dynamic synth solo that kind of reflects a Hammer-meets-Jobson thing. No doubt that the duelling and alternetions between Tsuboy y Takahashi play a major role in thsi album's greatness. Then comes 'Intermezzo', the dreamiest piece in the album, focusing on the romantic from a contemplative, almost mystic stance. The sounds are delivered as if the listener was invited to stand still while the music flows, afraid that the slightest movement could ruin the momentum. 'Rice Planting Song' y 'Lagoon Nebula' have to be the "weirdest" pieces of the album, mainly because they exhibit musica lschemes that are not that usual in KBB's repertoire. 'Rice Planting Song' mixes the birations of circus-background music, Slavic folk and ska- fusion, showing off a partying mood: imagine something that Jean-Luc Ponty would write after enjoying records from Samla Mammas Manna and Alamailman Vasarat for three hours. On the other hand, 'Lagoon Nebula' lets og of the previous optimism and goes to somber textures. It is basically a mid-tempo jazz-rock piece showered with influences from Univers Zero (regarding density, not the scary factor): in this way, KBB ets a reminder of the most disturbing moments of their "Four Corner's Sky" album. Unlike all other tracks, "40 Degrees" was written by bassistDani - it is featured as a sort of tribute to Weather Report and Return to Forever, combining melodic transparence and dynamic presence. 'Order from Chaos' fills the album's final 9 minutes, stating yet another solid example of KBB's prototype - reasonably complex and energetic jezz-prog with touches of symphonic prog and some extra werid ornaments that add a bit of weirdness to a simple articulated motif. This is really a principle statement, making it proper to close "Proof of Concept", a progressive gem that should be part right away of any good prog collection.