FunkFreak75 The Slovakian band's third album release--the universally acclaimed one. Could the difference maker be the dynamic bass play of Ladislav Lučenič? or the expanded keyboard array of Tomas Berka?

Line-up / Musicians: - Frantisek Griglák / guitar, piano, synths (Roland, Arp, Elka Strings) - Tomás Berka / piano, Fender Rhodes, Hohner, synths (Roland, Arp, Elka Strings) - Ladislav Lučenič / bass - Karol Oláh / drums, percussion With: - Peter Oláh / vocals - Dezider Pito / cello

1. "Huascaran I" (13:41) beautiful four-part symphonic piece that at times has the feel of Todd Rundgren's Utopia, at times the beautiful melodic sensibilities of something by Return to Forever, THE ELOY, or some RPI band like PFM. (28.5/30)

2. "80 000" (7:30) opens with a 90-second keyboard chord play that is an obvious nod to the opening to RETURN TO FOREVER's song "The Duel of the Jester and the Tyrant" from their 1976 release, Romantic Warrior. But then it moves into a motif that feels all Mahavishnu Orchestra before switching back to RtF at 2:40. Guitarist Frantisek Griglák has definitely expanded his guitar repertoire to include some pretty direct imitation of some well-studied Al DiMeola pyrotechnics. (13.5/15)

3. "Solidarity" (6:34) a song that shows how well the band, and especially keyboard speicalist Tomás Berka had studied and perfected the emulation of RtF leader Chick Corea's music and style. this one like "The Magician" or "Majestic Dance." (9/10)

4. "Huascaran II" (11:13) another Return to Forever imitation on which drummer Karol Oháh and bassist Ladislav Lučenič get to show quite prominently their own mastery of the styles and sounds of Lenny White and Stanley Clarke, respectively. On the front end, Frantisek and Tomás do their part in closing the amazing circle of imitation (of "The Medieval Overture"). The extended outro (1:50) of synth-generated birdsong and kick drum-generated heartbeat is a bit over the top. Great imitation. Wish it had more originality to it. (17.75/20)

Total Time: 38:58

Though too often a pretty obvious imitation of Return to Forever's Romantic Warrior, this is quite an exceptional album for its musicality and musicianship. Imitation is, after all, the highest form of praise, n'est-ce pas?

A-/five stars; a minor masterpiece of Return To Forever Romantic Warrior worship and another one of my Top 20 Favorites from the "Third Wave" of prog's "Classic Era."

FunkFreak75 The debut album from this Slovakian proggy Jazz-Rock Fusion band from Bratislavsk´y kraj, Straight out of the gates they prove themselves to be not only extraordinary musicians but excellent composers as well.

1. "Rumunská rapsódia (Roumanian Rhapsody)" (5:52) opening the album with something that sounds very much like LED ZEPPELIN on prog rock steroids. Guitar noodling and organ virtuosity on full display as the two instruments wend and weave their way in and around one another for the first 1:45, then a quick change into a FOCUS-like motif allows everybody to show completely different skills: guitarist Frantisek Griglák sawing away on a lead while keyboard virtuoso Tomás Berka switches to Fender Rhodes electric piano in order to continue to impress. Another bridge at the end of the fourth minute leads into a URIAH HEEP-like motif with organ supporting some wild flurries from both Frantisek and himself while bass player Anton Jaro is on near-Percy Jones rapid speed. Impressive! (9.25/10)

2. "Perpetuum II" (10:27) a long and oddly television-like intro of effects and low-key instrumental play that feels quite portentous but not quite threatening. Drummer Peter Szapu's increasingly-aggressive cymbal play at the end of the second minute signals an emergence from the primordial soup into something more structured and formed as Tomás Berka's odd marimba-sounding keyboard steps into the lead while Frantisek Griglák's guitar chords start getting louder and more sinister. A prolonged drum bridge in the fifth minute leads into a DOORS-like motif in which Tomás' keyboard choice switches to something more Canterbury-like (though no Canterbury keyboard player ever played this sound with such demonic feeling). Then the motif comes to a head with some very aggressive guitar shredding before turning down a much quieter one-way street for some pleasant storefront window shopping. Tomás' keyboard choice turns to organ with some high, piccolo-like note playing while Anton Jaro's underwater bass gets a turn to shine. Then mid-eighth minute the band turns onto a different street: driving against the flow of traffic! Yes, Frantisek's searing guitar play tells us how hard the upstream swimming is while the rest of the band drudges along in a heavy SABBATH-like motif. The 30-second finale finds everybody joining together to play a complex melody in a THIN LIZZY-like Celtic weave. Wow! Goblin on steroids! (18.25/20)

3. "Postavím si vodu na čaj (I'll Put The Kettle On)" (4:20) opening with a rock weave before settling back into a bucolic or dream-like tuned-percussion-like motif, they eventually settle back into a nice CAMEL-like rhythm track while Frantisek impresses in a very Andy LATIMER way. At 3:15 the band turns down a more ELOY, STARCASTLE, or even ALLMAN BROTHERS path for the final minute. Interesting mix--impressive play but not the most fluid construct or melody making. (8.875/10)

4. "Valčík pre krstnú mamu (Waltz For Godmother)" (7:03) blending an R&B/funk vibe with an Allman Brothers type instrument palette is quite creative and fresh. There are many moments that could also be construed as Focus-like Prog as well as Mahavishnu-like power fusion (and even some "Gates of Delirium"-like Steve Howe chaos at the end). And it all works! Brilliant! (14/15)

5. "Perpetuum III" (11:47) poorly recorded beach and wave sounds with Frantisek Griglák's Mahavishnu Orchestra "Birds of Fire" imitation building within as the drums, bass, and keys slowly build beneath. By the third minute the band is continuing on its Birds of Fire tribute with a "Resolution"-like resolution berfore peaking and switching into a Allman Brothers'-like jazz and bluesed up "Sweet Georgia Brown"-like passage. At 5:48 Frantisek's searing guitar bursts forth seeming to lead the band into something new, but instead sticking with the blues-jazz mock up for another half minute before turning down a bit of a BILLY COBHAM-like trail of funk through the mountain woodlands. Again Frantisek is in the lead with some impressive rock and almost-Mahavishnu-level guitar shredding. The rhythm tracksters remain iunwaveringly faithful in their support of their guitar leader, but their portion of the music starts to get a little stale as Frantisek remains unstoppable in his lead capacity. Despite my kudos to the band for attempting such a challenging mountain, I do not think they give the Mahavishnu Orchestra any competition. (I do not think that guitarist Frantisek Griglák is [yet] in the same league as the Mahavishnu.) (21.875/25)

Total Time 39:29

I feel that this album expresses the band's appreciation for as well as mastery of its rock roots while only slightly verging into the Jazz-Rock Fusion and/or symphonic progressive rock lanes; this is a more a rock album by some very talented/skilled artists with Jazz-Rock Fusion aspirations. At this point in the band members' developments I feel that guitarist Frantisek Griglák is a bit behind that of his band mates--especially keyboard genius Tomás Berka. But just wait: he's coming along.

A-/4.5 stars; a near-masterpiece or even a minor masterpiece of jazz-infused rock music.

FunkFreak75 The Slovakian band's sophomore album disspells any worry about a "slump": instead, the band shows how serious they are--and how hard they've been working since their debut.

1. "Pieseň z hôľ (Song From Ridges)" (11:07) the use of a wide sonic field with this bass and guitar opening catches the listener a little off guard but quickly flows into quite an awesome display of music with breathtaking performances from all four of the musicians (though especially guitarist Frantisek Griglák: the virtuoso has arrived!)Anton Jaro's nuanced bass play is brilliant, drummer Cyril Zeleňák's play quite solid and in the pocket, while maestro Tomás Berka's play on Fender Rhodes and synth are as extraordinary and inventive as ever. But really, giving Frantisek Griglák's guitar playing two (or more) tracks to show off his new, near-Jan Akkerman skills is almost unfair to the others. At the end of the sixth minute Cyril is given an additional track for some interesting "background" conga play. Then the band moves slightly into a different Al Di Meola-like lane with new guitar sounds and new synth sounds--all the while with Anton and Cyril holding down the blistering pace from below with astonishing ease. Now this is some powerful Jazz-Rock Fusion on the level of RETURN TO FOREVER. Probably the best--and my favorite--song on the album. (19.5/20)

2. "Svadba na medvedej lúke (Marriage On A Bears Meadow)" (4:15) the band puts on display how closely they've been keeping up with the Anglo-American Jazz-Rock Fusion scene with some Billy Cobham-like drumming, smooth-yet-funky Stanley Clarke like bass playing, and dreamy, experimental synth and Fender Rhodes play. Excellent, excellent song. Love the Cobham-like drum intro! Probably the best--and my favorite--song on the album. (9.75/10)

3. "Posledný jarmok v Radvani (The Last Fair In Radvaň)" (4:31) simple drums and wildly inventive-yet-melodic bass play from Anton Jaro (the guy is a metronomic miracle!) The band gets their funk out! Listen to guitarist Frantisek Griglák's funky guitar plucking! Plus, there are some amazing whole-band riffs, bridges, and weaves. Definitely a very intricately constructed composition that required a lot of practice to perform as well as some extraordinary skill to pull off. Probably the best--and my favorite--song on the album. (9.75/10)

4. "Priadky (Spinning)" (7:37) a slow, spacious opening with Fender Rhodes chords and percussion sounds gradually start building up tension and speed until Tomás chord play establish a rhythmic pattern upon which the rest of the band jump on board around the 90-second mark, forming one of the most engaging, melodic and yet funky jazz-rock themes I've ever heard. Amazing! Tomás work has never been better! So creative! And, with a little maturity he's figured out how the use of space within his playing can be advantageous. Frantisek's guitar only sneaks in during the fourth minute, eventually taking the lead in the sixth minute with more of a rock-blues-rock staccato style. (not my favorite.) Then, in the sixth minute, things slow down for a Fender and synth reset before Anton and Cyril re-establish an amazing groove over which percussion and Frantisek's rhythm and background lead work contribute. The real stars of the show here, for me, are Anton and Tomás. Probably the best--and my favorite--song on the album. (14.25/15)

5. "Dolu Váhom (Downstream Váh)" (2:20) one-man band Tomás Berka presents a theme that funksters Anton and Cyril join. It turns out that Frantisek's absence is only due to the fact that he's also playing a synth, duelling with Tomás. It's nice, made great by the rhythm section, but nothing to write home about. (8.875/10)

6. "Vo Zvolene zvony zvonia (Bells Are Ringing In Zvolen)" (10:10) with a kind of DEODATO "Also Sprach Zarathustra"-like display of smooth melody-making the band here express their future goals of creating more accessible progressive rock/jazz-rock fusion. The addition of Milan Tedla's violin to the mix is quite nice--here taking the first solo in the third and fourth minutes. Next is one of Tomás' synths as well as some additional percussion sounds. The whole groove is just a little too laid back--even at 5:10 when the rhythm section shifts into a cutesy stop-and-go motif over which Tomás switches to a different synth sound for a solo. A minute later they switch back to the original smooth groove for another violin solo--this one turning into a bit of a duel between Tomás' array of synth (and Fender Rhodes) sounds and Milan's violin (as well as himself). (Who does he think he is? Jan Hammer?) Another thing that irritates me about this song is the slight/subtle shifts in tempo--are they trying to be cute or just showing off their astute skills? Plus, I'm not really a fan of the rapid and frequent keyboard sound shifts--as if purely to show off the number of sounds he's found. The skills on display are undeniable; it's the effect that bothers me: as if entertainment is the only end worth working toward, not the skill of comaraderie and working out intricate weaves as a whole band. (17.5/20)

Total Time: 40:00

I don't know why I'd never been steered toward this album before (due to the super-high acclaim given to the sublime Huascaran, obviously) but from a purely jazz-rock fusion perspective THIS is my favorite Fermáta album! It's so perfect! And so funky!

A/five stars; a veritable masterpiece of Jazz-Rock Fusion! Were it not for the disappointing weaknesses of the final two songs, this might be among my top five J-R Fuse albums of all-time!

Warthur Fermata developed their musical sound in a more rock-oriented direction this time around, taking on influences from symphonic prog mainstays such as Emerson, Lake and Palmer in order to craft this concept album about the devastating Huascaran earthquake of 1970. As far as blendings of symphonic prog rock and jazz fusion go, I don't think it's as interesting as the territory fellow Iron Curtain group SBB were exploring at around these times; the fusion sections lack the fury and passion of Fermata's previous albums, and the symphonic rock sections sound lifeless and unenthusiastic to my ears. Not my cup of tea by a long way.

Warthur As with the previous album, Fermata's Piesen Z Hol presents a strongly Mahavishnu Orchestra-influenced brand of fusion based around the furious guitar work of Frantisek Griglák. With both Griglák and Tomás Berka contributing keyboard work to the mix, the album shows a somewhat greater synthesiser presence than the debut - or, for that matter, the original Mahavishnu Orchestra's albums, making Piesen's sound rather more unique. If you want to imagine what the Orchestra might have sounded like if the original lineup had stayed together and Jan Hammer had gotten some top-flight synthesisers, you should definitely consider giving this album a try.