Moğollar ‘Anatolian Sun Pt.1 & Pt.2’ 2xLP/CD (Night Dreamer) 4/5

Formed in Istanbul in the late 1960s, Moğollar were at the vanguard of the Anatolian Rock movement, a fusion of Western hard rock and indigenous folk musics and instrumentation. The group fizzled out in the late 70s but by then, most of the greatest singers of the time had been members or collaborators (albeit briefly for some), particularly Cem Karaka but also Bariş Manço, Selda and Ersin. Back by popular demand, the band reformed in the early 90s and since then tour frequently and have released a few albums with a changing line-up but always the ever-present Cahit Berkay on cura.

“Anatolian Sun” is their first release for over a decade and revisits tunes from their colossal back-catalogue. It is a single download release but for vinyl, it is separated into two parts; the red one is Part 1 and the blue one, Part 2. Like all the releases on the Night Dreamer’s excellent Direct-to-Disc series, it’s all single-take live performances at Artone Studio in the Netherlands cut straight to acetate using vintage equipment. It’s produced by compatriot, the ubiquitous Murat Ertel of psych-rockers, BaBa ZuLa, whose own Night Dreamer release was a highlight of 2020.

The sweet, delicate tone of Barkay’s cura introduces “Selvi Boylum Al Yazmalım”, a gentle but lush ballad, the opening track of Part 1. Despite quirky time signatures, there’s almost a bluegrass feel to “7/8 9/8”. Cem Karaca famously recorded “Gel Gel” with Moğollar back in the day and here it is sung with authority by his son Emrah, who captures some of the drama of dad’s performance. Bowed strings, twinkling electric piano and drum fuse on the slower-paced “Gam Yükü / Nilüfer”. “Dinleyiverin Gari” is spiky, truculent hard rock from the band’s second incarnation while the fuzzy wah-wah guitar-laden funk of “Çığrık” is classic Moğollar. A muscular rendition of “Düm Tek” follows with twin harmony lead lines reminiscent of Thin Lizzy in their prime! “Haliç’te Güneşin Batışı” is a great psychedelic jam with luxuriant organ.

On to Part 2: “Keşişleme” is a folky work-out and followed by the up-tempo boogie of “Bi’ Şey Yapmalı” with swathes of creamy organ and shouty choruses. “Buzlar Çözülmeden” is crystalline folk balladry. The up-tempo folk-prog rock of “Toprak Ana” replete with synth solo closes the first side. It’s an exciting and amazing mix of folk and movie soundtrack funk on “Iklığ”. The bands folk roots emerge in “Berkay Oyun Havası” followed by the heavy rock leviathan that is “Ölüler Altın Takar Mı”. The cello-like timbre of the bowed strings dominates the brooding and beautiful “Alageyik Destanı”.

There’s renewed international interest in Anatolian rock with acts like Altin Gün openly acknowledging and referencing the pioneers and originators of the genre. “Anatolian Sun” is the perfect time and place to put Moğollar at the forefront of this attention with a new shiny, harder edge to their classic material. For most listeners, this release will serve as an excellent introduction to their music and as they move towards their sixth decade, it suggests there’s more great music to follow. The performance and production maintains the high standards now expected from all releases in Night Dreamer’s Direct-to-Disc series. As for the vinyl version actually being two releases: unfortunately for my pocket (but fortunately for my ears), I couldn’t choose a favourite so I guess I need to buy them both!

Kevin Ward

Journey To A Destination Unknown: Barbara Thompson MBE – The Autobiographical Story Of Her Musical Life (Jazz In Britain)

Way back around 1978 saxophonist Barbara Thompson was the first guest of the newly formed Birmingham Jazz Society, an institution that is still going strong today. I was at that first gig and it was one of the first jazz gigs I ever attended. The group was ‘Paraphernalia’ and it is a testament to the quality of the music that I still remember the event all these years on. Thompson’s music has weaved itself in and around my own journey into jazz.

Read the full review here

Pete Josef ‘I Rise With The Birds’ 2LP/CD (Sonar Kollektiv) 4/5

‘I Rise With The Birds’ is the latest album from Bristol-based vocalist, musician and producer, Pete Josef. Continuing his long-running association with the Jazzanova founded record label, Sonar Kollectiv, Josef initially released his debut full-length with them in 2015 via the project ‘Colour’. But even by that point, Josef could have already claimed to have had a long-running association with Sonar Kollectiv having featured on tracks by Alex Barck, ComixXx and Paskal & Urban Absolutes. ‘Colour’ established Josef as an artist in his own right – a distinct sound built around contemporary pop, soul and with tinges of dance and electronica, Josef has consistently demonstrated his ability to take his music in numerous different directions, depending on what he wants to convey and which collaborator is benefitting from his golden touch at that time.

While work with the aforementioned Sonar Kollectiv artists helped to pave the way for Pete Josef’s introduction to the masses, the spirit of collaboration within his music is clearly something that he thrives off of particularly when considering the epic list of past collaborators: Jazzanova, Roni Size, Jody Wisternoff, Manu Delago and having played guitar as a part of the band for the Kelis project, ‘Live From Metropolis Studios’.

His is an exceptional résumé bolstered by a debut album that was befitting of his numerous talents. Five years later, however, Pete Josef assumes his position at centre stage with the release of ‘I Rise With The Birds’. And the album’s opening two numbers do exactly that – the immaculately produced ‘Night Eyes’ and the folk-esque ‘Friend On The Line’ both do a great job of showcasing the singer and songwriter’s vocal over vastly different compositions. A real injection of energy is introduced with ‘Giants’ which features the awesome vocal of Marie Lister who makes a welcome return to the proceedings particularly when considering her invaluable contribution as backing vocalist throughout ‘Colour’. Taking ‘Mainframe’ as another of the album highlights – a track immersed within an electronica-based aesthetic is swiftly followed by the luxurious, sweet soul of ‘Lavender’ and it’s a transition that works incredibly well.

That very technique is what has defined much of Pete Josef’s music to date and it’s a testament to his talents that he’s able to execute this confident dabbling between genres, seemingly, with ease. While ‘Colour’ delivered in Josef’s pop and R&B sensibilities, the project further benefitted from its accompanying remix album which saw contributions from a dream team of DJs and producers having been assembled including Mark de Clive-Lowe, Envee and Potatohead People. Some accompanying remixes for ‘I Rise With The Birds’ would certainly be nice but the album is such an accomplished piece of work that it already stands confidently all on its own.

Imran Mirza

Marcos Resende & Index ‘Marcos Resende & Index’ LP/CD (Far Out Recordings) 4/5

Thanks to the dedication and work behind the scenes by the Far Out team, Marcos Resende’s archived recording from 1976, finally sees a more than welcome release. The concerted efforts over the last twenty years finally secured the release of this superb recording and it’s another landmark archival find for the jazz music community. Recorded two years before the seminal ‘Festa Para Um Novo Rei’ recording, the self-titled album was originally destined to be released on Creed Taylor’s renowned CTI label but the deal never materialised and the album was thereafter shelved. Recorded at the legendary Sonoviso studios in Rio de Janeiro under the expertise of the legendary Brazilian sound engineer Toninho Barbosa, Marcos Resende joined the likes of Marcos Valle, João Donato, Azymuth, and a host of other progressive musicians who were attracted by the Rudy Van Gelder style of Toninho Barbosa and his colleagues at the sound studio.

The music on this self-titled album by Marcos Resende and his quartet carries similar elements to the ethereal floating timeless qualities shown with the quintessential Azymuth albums of the 1970s and the freedom and improvisation that you might associate with jazz-funk fusion bands such as The Headhunters during that same period. The music is constantly shifting gears carrying an effervescent quality that is both playful and elusive, never predictable. The addition of electronic instruments such as the mini-Moog and the Prophet 5 synthesizer adds an extra dimension and explorative feel to the album which lifts the sound and projects it into the future without becoming uprooted from its jazz and Brazilian traditions.

Joining Marcos Resende on the album for all the pieces except ‘Nergal’ are the bassist Rubão Sabino, drummer Claudio Caribe and the late great Oberdan Magalhães [Banda Black Rio] on tenor, soprano and flute. The album comprises six compositions, of which five were written by Marcos Resende and the other, ‘Nina Neném’, by bass player Rubão Sabino. The rest of the quartet step aside on Marcos Resende’s 9-minute composition ‘Nergal’ as the leader introduces a larger ensemble of progressive Brazilian artists including saxophonist and flautist João Theodoro Meirelles, one of the originators of samba jazz. Marcos Resende adds not only the Rhodes on ‘Nergal’ but also the Yamaha CP-708, Electric Pianos, Mini-Moog and Prophet-5 synthesizer. ‘Nergal’ is a definite highlight from the album and, would have no doubt featured on many a compilation, had it been known.

The track ‘Nina Neném’ was written by bassist Rubão Sabino and it’s an uptempo percussive jazz fusion piece with references to Milton Nascimento’s composition ‘Empty Faces’ and a slight feel of the music that bands like OPA about it. ‘My Heart’ has that same easy-paced dreamy Azymuth touch of magic about it, allowing space for the atmospheric Rhodes of Marcos Resende to create an atmospheric mood.

Throughout the album, the quartet creates a rich atmospheric tropical sound platform from which to improvise on, and the music always feels fluid and free, moving from funk and touches of rock-inspired fusion to the ethereal soundscapes that became epitomized in some of the classic Brazilian albums that shared inspirations with the dominant jazz fusion of the 1970s in the US and Europe. The music is indeed a classic representation of the instrumental progressiveness of those Brazilian musicians who carried a free spirit into the studio during the 1970s.

A highly recommended album and important discovery of another quality album from the Brazilian archives.

Mark Jones

Matthew Tavares & Leland Whitty ‘January 12th’ LP/CD (Mr Bongo) 5/5

Multi-instrumentalist Matthew Tavares and saxophonist Leland Whitty have been collaborating together for the best part of a decade now. Their history as members of Canadian nu-Jazz outfit Badbadnotgood has been well documented over the years, with their forward-thinking, hip-hop and electronica-infused take on jazz. But it was their incredible 2020 release “Visions” that really lit a musical fire for me. Far more steeped in the jazz tradition than the pair had been heard before, that album was undoubtedly one of the highlights of the year. Before the onset of Covid, the duo’s aim was to tour extensively to promote the Visions album, but obviously that couldn’t happen. “January 12th” is an improvisatory live set, offering a glimpse of what we might have got to hear from the band in a live setting.

Recorded as part of Burdock’s Piano Fest, an annual event at the city’s brewery and music hall, Tavares and Whitty are joined onstage by bassist Julian Anderson-Bowes and drummer Matt Chalmers, the same line-up as heard on the Visions recording. This four-track, improvised set from the quartet explores their jazzier side even more deeply than before, with a magically interwoven connection between all four musicians setting a solid foundation for them to roam, free-spirited and unencumbered, through moments of darkness and light, intensity and beauty, reflection and adventure.

“10,000 Roses” is a half-hour tour-de-force. The music is wholly transitional, with Tavares’ acoustic piano flowing like the peaks and troughs of a multi-dimensional mountain range. Whitty blows as if his life depended upon it, with all the passion, fire and emotion required to summon the gods of improvisation. As with the whole album, Bowes’ bass playing and Chalmers’ drumming give much more than mere support, their intuition bang-on, knowing exactly when to step back into the shadows, and when to fly like an eagle, soaring blissfully over those mountainous peaks. Together, the quartet seem to share such a close musical connection, that there’s nothing in their way, their musical paths combining perfectly on this magnificent piece of music.

Tavares switches to electric guitar for the moody, slow-burner of a tune, “Chandelier”. This is a far more atmospheric piece at the start, with a gradual build-up resulting in an almost rock-fuelled frenzy; bass, drums, sax and guitar letting loose with cataclysmic exuberance. Back at the piano for the beguiling “Cloud Dance”, Tavares’ piano combines beautifully with Whitty’s conversational sax. This feels like a much more impressionistic vibe, with the drums and bass picking up the tune and imbuing the piece with a sense of the jazz tradition. Bowes’ exploratory bass leads us into the final tune “Forever”. Tavares’ electric guitar takes the tune into a kind of hushed Grateful Dead prog-rock theme, with late 60’s, early 70’s experimental hues and textural colours permeating their way through the whole mesmeric ambience of the piece.

Eclectic and slightly off-the-wall it may be, “12th January” is a sparkling live set from Tavares, Whitty, Bowes and Chalmers. Four musicians at the peak of their powers, this album has ‘cult classic’ written all over it.

Mike Gates

Read also:

Matthew Tavares & Leland Whitty ‘Visions’ 2LP (Mr Bongo) 5/5

Gerry Weil ‘The Message’ LP (Música Infinita / Olindo) 4/5

Gerry Weil, El Maestro. The 81-year-old Venezuelan (via Austria) has taught his country’s future musicians for over 40 years now. “I started teaching with my bicycle all over Caracas. I would put up flyers in pharmacies and supermarkets promoting music lessons.” This evangelical dedication to the craft coupled with his spiritual definition of music, “A gesture of love to us by the divine and our answer with passion and thankfulness”, leads to an understandably deep affection for him held by colleagues, fans, and students alike.

“The Message”, the inaugural release of the Música Infinita label, saw the first light of day back in 1971. It’s a hippy, Caribbean jazz-rock fusion, delivered in a big band style by 16 of Venezuela’s finest: 4 trumpets, 2 trombones, 4 reeds, 3 drums/percussion, electric guitar and bass, and El Gerry on piano and organ.

The album opener, “The Joy Within Yourself”, releases that joy out of itself. El Gerry kicks it off with some mucky organ, the (big) band tipsily glides, swells and horn stabs and he delivers a vocal that has the parental part of me pouring Lemsip and getting him checked out for laryngitis. He rolls around his piano as he sings before some gorgeously-hip, ganged, feline voices and a fuzzy, volume-boosted solo by guitarist Vinicio Ludovic bring us to a stumbling, boozy, bluesy end.

I got lots of problems but “The Bull’s Problem” ain’t one. It’s a choppy, Rhodes-comping, cymbal-riding jazz-funk. A comes-and-goes horn motif and a deep rhythm section fuel sax and trumpet solos before a fiery percussive battle between Alberto Naranjo on drums and Freddy Roldán on congas. Heavy stuff – all it’s missing is the fire flute.

The title track, “The Message”, is a psych funk-rock workout with punchy horns. Ludovic, guitar, and El Gerry, knackered voice, both freely throw out clipped waves. “We want the revolution. We’re looking for peace, love and solution”; a call to flower-carrying arms and freedom for all; a charming hippy hit musical meets Funkadelic-lite frisk.

“Johnny’s Bag” is a modal, spiritual big band moment. Tyner and Pearl and Dean. El Gerry on an acoustic piano is sometimes overpowered by a wonderful all-star Venezuelan horn section including Benjamin Brea on alto, Victor Cuica on tenor, Rodrigo Barboza on trombone, and Luis Arias on trumpet; sometimes he’s empathetically comping to allow the players to breathe solo warmth upon our frazzled souls; and sometimes he’s soloing himself, with patience and felt wisdom.

Vinicio Ludovic’s wide-collared, Latin-accented, easy-listening voice smoothly opens “What Is A Man” before El Gerry, much less smooth, barks with urgency encouraging us to “stop playing THAT game”. The band then goes on a funky big band, 70’s primetime Saturday Night TV walkabout before returning to Ludovic’s final take on modern masculinity and responsibility.

The album contentedly closes with a twinking, lightly grooving early 70s soul-jazz fusion. Naranjo’s drums display his signature slightly-rushing-it energy as Mickel Berti on bass and El Gerry on organ genially bounce off him and each other.

“The Message” is very much of its time. It’s stepping from the ’60s into the ’70s. It still has that 60’s psych hippyness but is looking towards a lush CTI horizon. Kinda like a charming, Venezuelan The Stark Reality but not really. It’s on a journey, in motion, looking to learn, explore and grow. It’s El Gerry as el maestro y el Estudiante; the way he’s always been and continues to be to this day. The “eternal Venezuelan jazz hippie that never stops reinventing himself” as Caracas Chronicles’ Ramsés Ulises Siverio lovingly referred to him.

Ian Ward

Cecilia Stalin ‘I.Am.’ LP (Step Like a Giant Music) 4/5

‘I.Am’ is the new album from the Swedish born singer and songwriter, Cecilia Stalin, affording her the distinction of her third full length album release.

In the discussion about Cecilia Stalin’s music, much is often made of the incredible and extensive range of collaborations that grace her CV. Her work with the electronica-inspired nu-jazz duo of Koop always garners praise – as well it should! The tracks they worked on for the ‘Waltz For Koop’ (2001) album in particular, ‘Waltz For Koop’ and ‘Baby’ are such awesome standouts for an album with numerous highlights throughout! And while work with Omar, The Streets and the Cinematic Orchestra soon followed, another notable collaborative standout was the EP with bassist Khari Cabral Simmons, ‘The Story of Love’ (2015). Produced with Bugz in the Attic’s Daz-I-Kue, the four-track release revelled within a thrilling ‘jazz meets bossa’ aesthetic which garnered the duo boundless praise for the project.

Stalin’s is almost a chameleonic approach when it comes to making music. Her ability to consistently adapt and try new things through her varied music projects has cemented her reputation as a definitive contributor to London’s thriving scene. That level of versatility has never been constrained to just whoever the collaborator was at the time but also a perspective taken within Stalin’s solo projects as well. ‘Step Like A Giant’ saw Cecilia tackle the music of John Coltrane for the thirteen track album that presented classic Coltrane compositions re-imagined within a contemporary setting of broken beat and hip-hop.

There’s something about the presentation of *Cecilia Stalin* for ‘I.Am’ however that is less about this renowned ability to adapt to something new, musically, but in this case, perhaps to keep the project’s focus firmly on herself allowing a reflective and thoughtful story to subsequently unfold. With songwriting on the album helmed in large part by Stalin, the music is brought to life by a team of excellent musicians including the core line-up of drummer Laurie Lowe, bassist Tom Mason and pianist Alex Bennett. A variety of guests appear throughout each making strong contributions including Jay Phelps (trumpet), Jansen Santana (percussion), Richard Beasley (sax) and Solden Bertrand (guitar).

And the end result is absolutely befitting of Stalin’s vision for everything ‘I.Am’ was to represent: ‘Brave’ hits nicely like a slice of classic 90’s neo-soul with Stalin’s spoken-word delivery backed beautifully with rich Ummah-like production. The playful nature of ‘Chance’ is bolstered by a nice interplay between Stalin’s delivery and the band, and while ‘B-song’ and ‘Blunt-ly’ also deliver as strong album highlights with really vivacious and warm energy, the 7-minute ‘Released’ is very possibly the star of the whole album – an incredibly well-produced number with Lowe’s off-kilter drumming setting the pace brilliantly before Bennett’s solo in the middle of the song reconstructs the composition, building it up all over again into something completely different but just as brilliant.

Albums with the title of “I Am” are always very intriguing – they can often serve as strong and confident declarations by an artist or they can serve as a question to be answered throughout the making of the project. Whichever approach Cecilia Stalin went into the making of this album with, I’d argue that the question is definitely answered by the album’s completion.

Imran Mirza

Read also:
Cecilia Stalin ‘Step Like A Giant’ (Private Press) 3/5

Keith Jarrett: A Biography by Wolfgang Sandner (Equinox)

Given the fact that the legendary pianist, composer and improviser, Keith Jarrett, refuses steadfastly to talk at any significant length about his music, stating that ‘words’ are effectively useless and that any words used are completely superfluous, it does seem a touch ironic that I find myself writing these words you now read, about words that have been written in a book about the life of Jarrett and his music. I can relate to the sentiment behind Jarrett’s opinion, but one only has to have a passing interest to understand why it is so intriguing to discover more about the man, his life and his music.

Read the full review here

Joe Lovano Trio Tapestry ‘Garden of Expression’ LP/CD (ECM) 5/5

2019 saw the debut release of Joe Lovano’s Tapestry, with pianist Marilyn Crispell and drummer Carmen Castaldi. An enticing album with moments of brilliance, to me it offered more than it actually succeeded in giving. The trio’s second release, however, “Garden of Expression” delivers one of the most deeply beautiful set of tunes ECM are likely to release this year.

The development of the trio on this recording is clear to hear. Lovano’s writing, and the trio’s performance is breathtaking. There’s an intense focus, with the music being tenderly melodic, harmonically open, rhythmically free and spiritually involving. The saxophonist encourages subtle and differentiated responses from his creative partners, culminating in a magically interwoven improvisational understanding.

The new album also benefits from the recording location, the details of the music optimally realised in Manfred Eicher’s production, made in the highly responsive acoustics of the Auditorio Stelio Molo RSI in Lugano. “Having given a full performance there we were very comfortable with the room. The tone there, and the sound and the feeling in that space, built to be a recital room, is amazing. We played forte and really felt it.” says Lovano. “We played at pianissimo volume, and you heard the music vibrating in the room. And that created a real spiritual delivery on each composition, as we allowed the music to unfold.”

My first impression of this album still feels relevant to me after several more in-depth listens. The overall feel of the trio’s music immediately reminded me of how I felt when listening to Lovano play in Paul Motian’s trios – especially the many recordings made as the Motian/Lovano/Frisell trio. The music has an ethereal, mindfully aware, cosmic feel to it, yet remains so organic and grounded. And on this latest recording, it really is like the spirit of Paul Motian is present. Interestingly, Lovano also draws parallels between the present trio and the music he made, over a period of 30 years, in Paul Motian’s trio with Bill Frisell. “We developed a way of playing and communicating. The pieces would change night after night, as Paul gave us permission to create the music within the music. That study, that conception, has provided a foundation in my own playing and writing up to the newest work with Trio Tapestry.”

The album unfolds in a natural, unhurried way. From the glorious opener, “Chapel Song”, through to the final chimes of “Zen Like”, I was totally immersed in the eight original Lovano tunes. Marilyn Crispell’s solos, counter melodies, and improvisational embellishments, along with an intrinsically intuitive sense of sound-colour, helps the character of the group unfold like a beautiful flower coming into bloom. The detailed responses and textural brushstrokes of Carmen Castaldi paint delicate watercolours, spacious, romantic and alluring. And Lovano himself captures the whole of the moon in one breathtaking moment of time after another. This is how a trio should be.

When Joe Lovano’s in this mood, there’s really nobody else on the planet to compare him with. Five decades plus of creativity and the saxophonist still produces music as inspiring and astonishingly beautiful as this… incredible.

Mike Gates

Read also:
Joe Lovano ‘Trio Tapestry’ LP/CD (ECM) 3/5
Marcin Wasilewski Trio with Joe Lovano ‘Arctic Riff’ 2LP/CD (ECM) 4/5
Enrico Rava / Joe Lovano ‘Roma’ CD (ECM) 5/5

Gabriel Vicéns ‘The Way We Are Created’ CD (Inner Circle Music) 4/5

With its organic blend of contemporary jazz and propulsive, percussive, melodic rhythms, “The way we are created” is the third album from New York City-based guitarist Gabriel Vicéns. This engaging release becomes a part of the Inner Circle Music canon, a label established by influential saxophonist Greg Osby. Also behind the release of this album is the Puerto Rican non-profit organisation 71 Associates, which was created by Jochi Dávila to help experimental musicians.

Joining composer/guitarist Vicéns on this fine set of tunes are fellow New Yorkers Roman Filiú on alto sax, Glenn Zaleski on piano, Rick Rosato on bass, E.J. Strickland on drums and Victor Pablo on percussion. Following on from the guitarist’s previous albums “Point In Time” and “Days”, it is clear that Vicéns has further developed his compositional ideas and is now blossoming with his own clearly articulated style, forging his own musical identity. There’s no doubt that having such accomplished musicians around him have helped this progression, with a provocative sense of freedom emanating from the band’s combination of jazzy, Afro-Caribbean and Puerto Rican styles.

The music performed here has a refreshing and expansive feel to it, with all of the band members reflecting a natural ease of expressiveness. Individual solos add depth to the overall group dynamic, bringing the best out of the composer’s thematic and melodic ideas. There’s a subtlety to Vicéns’ playing that I really like. The title track is a prime example, with the guitarist leading his band and allowing the tune to develop with a graceful, keen edge, allowing the music to breathe with unhurried melody and harmony. The combination of multi-faceted World rhythms, as on “The Mystery Of S.T” blend wonderfully, with the permissive elements elevating its naturally fiery glow. Tunes such as “Retoro”, “Definite Purpose” and “To The Unknown” leap out with a fervent effervescence, also highlighting the importance of the rhythm section to the music being performed. Lively and bold ideas are brought to life by some excellent soloing on “A City of Many Mysteries”, “It Doesn’t Matter” and “The Upcoming”, with an intelligent, seemingly effortless coming together of complex jazz and folkloric Puerto Rican styles. The classy “Caribeno Pensador” and the atmospheric Fuera de mi Cuervo” offer up something different, not only a change in pace but also in a sense of experimentation, adding a surprisingly esoteric element into the mix.

“The way we are created” is an imaginative and inventive album from Gabriel Vicéns. It’s a feel-good recording, passionate and very likeable. Blessed with strong, original compositions and a high level of performance, its own unique flavour makes it a very enjoyable listen.

Mike Gates

Astral Travelling Since 1993