HORIZONTE

The jazz-fusion and folk-rock scenes were very prolific in Argentina in the 70s, taking advantage of the remergence and vindication of folk music in an important part of pop culture. Arco Iris was the undisputed, unmatched zenith in this particular musical area; Horizonte, with only two albums in their CV, was the only band that could come really close to the aforesaid one. Horizonte's debut release is a delicious showcase ofr South American rock-fusion with heavy Andean accents, exemplarizing the archetype of a midway between Los Jaivas and Arco Iris that undeniably fits them so well. The opening track 'Sueño de Luz' bears a lovely candidness with its hopeful aura and dynamic rhythm structure. Track 2 'Tierra del Indio' is also extroverted, but this time it bears a somewhat harsher sound, more rock sensible, just like what Arco Iris did in their Sudamérica and Inti Raymi albums. The 10 1/2 minute-long instrumental 'Selva del Sol' is the album's definite gem. Starting with an ethereal, slightly cosmic intro, the first motif enters and setles in quite easily as a sort of prolongued interlude; the real main motif is introduced by massive percussions bringing in the typical cadence of malambo, in this way announcing a musical colorfulness that is perfectly complied by the full ensemble, featuring an ever powerful lead guitar that states the overall melodic development. Let me repeat the motto midway between Los Jaivas and Arco Iris in order to describe this track's essence in a few words: I will add that there is an epic vibe to the core jamming that makes the whole track expand its potential power quite successfully. What follows doesn't equal the magic of this lovely piece, but it's still worth enjoying in a genuine manner. For instance, 'Piel de Cobre' has a melancholy sung section that is followed by an instrumental jam that sounds very related to 'Selva del Sol'. 'Maíz Azul' is an Andean ballad with a brief (too brief!) joyful coda, while 'Trigo Maduro' bears a recurrent midtempo based on a fusion of Andean and blues-rock (vaguely Tullian, indeed). The album's finale is brought in by 'Vidala del Corazón', an emotional song that solidly portrays the melancholic and passionate sides of Andean folk in an art-rock frame. It will be on their second release where Horizonte will really accomplish musical excellence, but this debut album isn't far from tha tdemanding level: in fact, it ancipates in a very determined way. Horizonte is an important item for any serious prog-folk collector.

3.5 stars really!!!

While across the border, on the other side of the Andes, the two groups incorporating Andean Amerindian-type folk music into their rock, Los Jaivas and Congresso had to flee their country due to the Pinochet regime, both had found a first refuge in Argentina and obviously had an impact there first and foremost. Both Chilean bands were born in the early 70's and by 75 had fled to Argentina, with at least two or three albums in their suitcases. By the later 70's, their type of progressive folk prog rock had made a few ripples and one of these indeed caused a bump on the Horizonte. Recorded in the closing days of 77 and released the very next year, the self-titled debut made a dent into the record charts of their country, even though their horrible artwork was certainly not encouraging.

Most of the tracks are penned by guitarist/flutist Mario Vanini, and singer & percussionist Hugo Ojeda making the balance, the rest of the group being drummer Bloise, keyboardist Tisconia and bassist Alfano. Starting on what appeared to be the commercial hits ofv the album Sueno De Luz and Tierra Del Indio, the album appeared not only as folk, but also defending a certain Amerindian heritage that was probably as uncommon in Southern than Northern America. Both tracks are short, acoustic and emotive, the kind of thing aimed for radio airplay, even if in the 70's, Argentina was not much less trouble-free than its neighbouring Chile or Brazil were. The album gets a real start with the almost 11- mins Selva Del Sol, which seems to start with a slow piano and bass rumble coming from the planet's wombs, slowly evolving out to incorporate impressive wood-creaking percussion and a solemn sunrise flute, the whole thing coming to a rest before the bass and a steady drum bring the guitar that comes in menacingly at first, before the bass and steady drum bring back that same guitar, this time much more gliding and smooth, this time more enduringly as well. The album's flipside starts on the 7-mins Piel De Cobre, a solemn Spanish-type lament, one you'd find on some Morricone Western movie if it wasn't for the quality of the songwriting and its middle section developing some wild interplay between the five members, making this track an easy second highlight of the album. The closing Vidala del Corazón is taking the usual Andean folk to more progressive pasture lands with some sophisticated arrangements. The Ojeda-penned Trigo Madura is a short but dramatic piece on which the flute does do some wonders, reminiscent maybe of Tull's opening album's blues rock, but retaining the Spanish tinge.

While I wouldn't call Horizonte's debut a masterpiece, it is one of these album that must be listened in priority if you want to get the real essence of how Latin America did its best prog rock, through its folk roots. Masterpiece maybe not, but essential, hell yes!!!