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Jazz Rock/Fusion • Costa Rica

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Amarillo Cian Y Magenta biography
Yellow, Cyan and Magenta (English for the AMARILLO CIAN Y MAGENTA name) are the primary pigments' colors from which all other colors are obtained. This name intends to be a metaphor and represent a "synopsis" of many musics or "musical colors".
AMARILLO CIAN Y MAGENTA is an original instrumental ensemble set on the Costa Rican contemporary urban music scene. Their style is a mixture of musics from different places and cultures around the world, in this way generating a sound as eclectic as Costa Rican culture itself, which is built on a melting pot of various cultures. Band members are quite young, yet experienced from other previous bands encompassing a variety of styles, both classical and popular. In a nutshell, their music is a very free fusion, open to jazz, electronic, classical, African, Latin American and Arabic foklores, among other sources.
The band's debut on stage took place on June 21st, 2003, in a concert at Morazan Park, in the context of Music Day celebrations. After that event, through the years, AMARILLO CIAN Y MAGENTA have done lots of gigs in concert halls, special events, art galleries and festivals. Their 2007 album "Nómadas" has been highly praised by the domestic music critics, especially in the jazz and avant-garde scenes.

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Inspiration and English Translation by César Inca

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"Nómadas", studio, 2007

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4.04 | 4 ratings

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 Nómadas by AMARILLO CIAN Y MAGENTA album cover Studio Album, 2008
4.04 | 4 ratings

Amarillo Cian Y Magenta Jazz Rock/Fusion

Review by Cesar Inca
Special Collaborator Honorary Collaborator

4 stars Amarillo, Cian y Magenta is the name of this talented Costa Rican ensemble named after the primary colors. And just because of this, it seems quite natural that this band takes a dominantly relaxed approach to the modern jazz trend of their choice: their music is agile and quite lyrical, with some moments of plain energy that ever get aggressive or abundantly explicit. With this debut effort "Nómadas", ACM gives us a solid example of fusion with wide modernistic features that include acid-jazz, Word music, the texturial side of prog rock's tradition and the ethereal side of space-rock (a la Ozric Tentacles with an emphasized jazzy overtone). 'Obertura' is a lovely introduction to the world of ACM, undeniably influenced by Yellow Jackets, with old-fashioned swing and Latin jazz passages building up an interesting finale. 'Nómada' is more strongly inclined to the acid- jazz standard, while the pair of 'Percatarse' and 'Signos de Puntuación' is ordained on a fluid combination of candid joy and eerie percussive rituals, ultimately landing on the spacey reggae moods of 'Catarse', a patent hint to the fusionesque side of the Ozrics. So far, we have a set of colorful musical pieces, and this notion won't change a bit through what remains of this album. This shows at listening to the next two tracks, 'Tren' and 'Después de Medianoche', which capitalize the cosmic resource partially inflicted in 'Catarse' and enhancing it in order to create a magical dynamics, filing the space yet not being overwhelming at all. The specific case of 'Después de Medianoche' states a more developed sequence of themes within a tight framework. The pair of 'Grilos' and 'Sigilos' brings a healthy return to the once predominant fusion side, this time mixing the Latin thing with well attuned Flamenco nuances, elegantly punctuated by the 5/4 drive laid by the rhythm section. After this exhibition of joy comes a slightly more mysterious piece, 'Desert House', where the joie de vivre is not only prolonged, but also complemented with a dreamy ambience properly nourished by African-tropical cadences in an acid-jazz scheme. Next is another pair, 'Encuentro'-'La Danza de las Serpientes', featuring Arabic flourishes that demand that the keyboard placer assume a leading role to a wider extent than on any other parts of the album. His input generates a solid wall-of-sound for the other instrumentalists to revolve around? and they do so great! 'Cuarto Menguante' comes to bring back some contemplative vibes, with the pair 'El Camino'-'El Otro Camino' bringing back a different trend, one of sensual extroversion that we have already found in a number of preceding pieces. The album's epilogue is 'Ríos y Aguaceros', a beautiful interplay between the piano calm textures and the tenor sax's crepuscular lines surrounded by sounds of waves and streams. "Nómadas" is an exquisite musical work, and so I recommend all lovers of modern jazz pay close attention to Amarillo, Cian y Magenta.


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