TANTOR

Tantor's namesake debut album is one of the most notable jazz-prog releases from Latin America's progressive scene. Born and working in an era where the prog rock era was already declining from its marginal era of artistic glory all over the world, the jazz and jazz- rock environments in Argentina were still prolific and full of interesting musical proposals. In the case of Tantor, the fact that two of this trio's members had worked within the ranks of the then recently demised Aquelarre shows that the jazz and art-rock elements were in an invigorating escalade in the aforesaid band's sound (particularly, the last 2 albums), so in many ways, the repertoire comprised here is a manifestation of the artistic development that was occurring in Héctor Starc's mind. Luckily, bassist Carlos Rufino and drummer Rodolfo García were more than ready to go along with it; add two young talents supporting the trio from behind the ebony and ivory keys (organ, pianos, synths, clavinet), and you have an excellent collection of exiting musical ideas cooking on. The name that comes from Tarzan's elephant feels apt for this musical jungle of energy, exquisiteness and stamina. Crucis and the rockier side of Arco Iris, with obvious hints to the fusion side of Aquelarre are the family airs to be noticed from track 1 to 7. 'Guerreras club' kicks off the album with an intense fire, in many ways related to the legacy of RTF, only with a (naturally) patent emphasis on the guitar's input; the guest keyboardist sounds pretty much like Jan Hammer on this one. This is a great opener, indeed, contrasting with the warm gentleness of the much calmer 'Niedernwohren': smooth Latin-jazz for the first half, a bit more extroverted for its second half. 'Llama Siempre' is the first of two vocal tracks: funk-oriented swing and romantic aura are gracefully combined in this song. 'Oreja Y Vuelta Al Ruedo' has a very enthusiastic fusion-centered ambiance: the powerful drum kit's entry sets the main mood for this piece: I bet that Starc thought of this one after getting acquainted with the music of Iceberg during Aquelarre's venture in Spain. Even though the main motif is repeated many times, it never gets boring: the overall mood is that catchy and vibrating. 'Halitos' kicks off the album's second half with an eerie piano intro, with paves the way for the main body's lyrical nuances, very much based on bossanova airs. This lyrical approach in repeated subsequently in the next track, the second vocal one: 'El Sol De La Pobreza' is romantic but not devoid of energy, all in all, since the jazz-rock factor is fairly noticeable in the basic instrumental arrangement. Finally, 'Carrera De Chanchos' completes the album in a most magnificent way: its first 2? minutes are occupied by a spacey prelude that ultimately opens the door to a vigorous main body, something that wouldn't have been out of place in any of Crucis' 2 albums. The guest keyboardist provides a most incredible solo on synth, stating a healthy rivlaity against Starc's constantly propelled deliveries. This is a great closure to a great album. Attention all members of the Progressive Collectors' federation ? this album is not to be missed!