After recording Creciendo, we did a memorable small tour through Brazil, where we ended playing at the Rio Art Rock Festival, in an amazing theater. This tour, as opposite to others, didn’t had many gigs, so we really tried to make the most our days over there and we had an very good time time! The setlist includes music from my previous solo records and Entrance as well; it is interesting to hear the Brief Rock Pieces versions with guitar, since none of them had any guitar in the original recordings.
Jaime Rosas: Keyboards
Rodrigo Godoy: Guitar, Bass and Vocals
Javier Sepulveda: Guitars
Alex von Chrismar: Drums
Recorded live at the Rio Art Rock Festival - Brazil 2005.
1. Viajero Astral
7. Un Volcán en las Nubes
8. Breve Pieza Rockera III
9. Breve Pieza Rockera V
10. Breve Pieza Rockera X
11. Breve Pieza Rockera VI
12. El Mito del Eterno Retorno
Director: Sohail Saud
Administration: Teresa Salgado
Executive Production: Catherine Bueno & Cris Honorato
Coordination: Luciene Rocha
Coordination Assistant: Adelmo Cavalcanti
Operator: Jadir Oliveira
Operation Assistant: Luis Gustavo
Lights: Palito & Wellt Camara
Sound: Teles Audio
Electricians: Renato Lima & Wilson Pinto
Cameras: Cristiane de Souza & Sonia Loureiro
Printing assistant: Mariana Puche
All tracks recorded by Bob Nagy on November 10th, 2005.
Mixed by Rodrigo Godoy at Sonica studios , January 2006.
Masterized by Rodrigo Mardones
Art design: Gustavo Sazes
Produced by Leonardo Nahum for Rock Symphony
Not totally Live in Brazil, since the rendition of 'Lluvia' was taken from the Cuarteto's performance at Baja prog 2004 in Mexicali (Mexico), still there is an undeniable flavor of how well the audience at Rio Art Rock Festival 2005 connected with the energy and musicality of Jaime Rosas Cuarteto. This is an excellent live album: it has great sound production and it comprises great performances. The tracklist is cleverly selected as to enhance the main features of Rosas' progressive vision, leaving room for other sources right through the middle. The repertoire begins with the suite 'Viajero Astral', from the Extremos album, and then it goes on with the first two parts of the 'Lobo Estepario' suite that Rosas brought in for Entrance's sophomore release En la Tierra. Ultimately, the last piece is the remaining suite in Rosas' history so far: 'El Mito del Eterno Retorno', from Creciendo. It's easy to suspect that the tracklist is designed to make great statements of pomposity, melodic variety and musical drama at both the starting point and the curtain call. Like I said, performances are robust and accomplished, which is a great help concerning the development of the compositions' colorfulness. The reflective mood that prevails in the second part of 'Lobo Estepario' ('Despertar') makes things a bit ceremonious before the arrival of the full forntal fire in 'Gravedad'; this piece brings in the prog metal leanings that Rosas manages in his rockiest compositions. This piece sounds like a mixture of ELP, Gerard and Moore-era Dream Theater, and the same can be said about 'Creciendo', a monster song that adds punch and catchiness to the fold. I've always been a sucker for the sort of dynamics that this song inspires in the listener's mind. Things turn radically to ver ydifferent atmospheres for the next two pieces - 'Lluvia' and 'Un Volcán en las Nubes'. 'Lluvia' is a beautiful ballad taken from Rosas' debut album Virgo: you can almost touch the breezes of melancholy and solitude emanated from the lovely piano melodies and harmonies. A mesmerizing symphonic ballad, indeed: different from the more orchestrated studio version, this one is focused on the piano, which enhances the sense of intimacy. 'Un Volcán en las Nubes' moves to the realms of mysticism, with those introspective pipe organ layers that sound quite Baroque in a Haendel sort of way: the ambience is more dreamy than it is lightful. The four brief rock pieces ('Breves Piezas Rockeras') taken from Virgo and Extremos lighten things up on a road of no return where the pyrotechnics of prog metal and the magnificence of vintage symphonic rock marry in one single sonic source, the way that Jaime Rosas usually does it. All in all, this is an excellent live prog rock album: it's been 3 years since the time of this performance, but this CD makes it feel as vibrant in the listener's mind as if it were a concert that they attended a few days before.
Cesar Inca - Prog Archives
I got this live album ages ago and I have just ordered two (out of total three) studio albums. I therefore do not know how this band really sounds like. Live albums sometimes tends to distort the full picture (of a band). The band tends to give full speed and the more lyrical themes is wiped out on a live album. I do not know if this is the case for Jaimie Rosas Cuarteto. Only the studio albums will give me that answer. But this live album is pretty lively. ELP and in particular; Keith Emerson tends to be often mentioned in combo with this band. This is why I am a bit sceptical to this live album and gave the warning above. The reason is that the band sounds much more like Dream Theater than ELP on this live album. Maybe this is because the adrenaline is flowing and the new guitarist in the band is on a John Petrucci trip. This live album is very much a shared effort between the guitars and the keyboards. That is the strenght of this album. The vocalist is not bad, but still the weakest point in Jaimie Rosas Cuarteto. But he is still acceptable on an album which is so keyboards and guitars driven. The sound is also a mix of Dream Theater, neo prog and some ELP. Jaimie Rosas is a dedicated Keith Emerson follower (if the biography is to be believed) and he sometimes throw in some ELP influenced solos. But I would also mention Rick Wakeman as a good influence on Jaime Rosas. His pedigree is excellent, his work is flawless and Jaimie Rosas should be regarded as one of the best keyboard and tangent player in today's prog rock scene. The quality of the songs here range from good to excellent. There is a lot here to feel euphoric about. There are a couple of ballads which could had been omitted from this live album because they depends on the pretty weak vocalist. But the instrumental parts of this album is just a joy and utter joy. This album is more Dream Theater than ELP. But it is still an album symphonic prog fans would enjoy. My name can now be added to Jaimie Rosas Cuarteto's Appreciation Society.
Torodd Fuglesteg - Prog Archive