IV

Many young musicians find inspiration in their idols, forming bands that will meet up and practise for days on end, some with the intention of playing live gigs and recording albums others purely to make money (good luck with that today). As I look over my leviathan collection, the paucity of Mahavishnu Orchestra emulators is rather obvious and mildly amusing. Even the names are scary: Billy Cobham, John MacLaughlin, Jan Hammer, Jerry Goodman and Rick Laird. Finding only a few, French band Moving Gelatine Plates, Arti+ Mestieri from Italy and American one-shot band, oddly enough called Aurora. Return to Forever, and Weather Report don't count because they were both pioneers there from the beginning. Along comes this modern combo from Spain, Aurora Clara that I latched onto per chance, and I immediately went out and got all 4 albums, starting out with the 2019 debut "Transformation". Absolutely blazing stuff. Naturally the Spanish element can mean only one thing: flamenco tendencies. Brazil born, Finland bred Raul Mannola handles the guitars, bassman Nill Olivera (also from Brazil) works wonders with propulsive British drummer Marco Anderson, the violin replacing the flute, adding a lovely cachet to the pieces (Spaniard Juan Carlos Aracil), and keyboardist Denis Bilanin from Romania.

From the very first notes tumbling out of the speakers on "The Last Candles", the enchantment begins and takes hold gently. The soothing flute flutters above the volatile guitars that switch from elegant to molten hot, the rhythm section mechanically sound and ready to turbocharge at the slightest hint. When both Mannola and Bilanin decide to raise the bar, they explode with some sizzling runs, exhibiting a tactile interplay of the highest calibre. The electric guitar in particular has this familiar rasp and a speed factor a few steps away from supersonic, traits that made MacLaughlin such a visionary. Technically superb and emotionally charged to the hilt. "Five Sisters" veers into a funkier territory, perhaps closer in spirit to the "Visions of the Emerald Beyond" album from 1975, here the main highlight is the spectacular e-piano segment from Bilanin with Olivera and Anderson locked into a rumbunctious groove. The athletic ease displayed is rather bewildering, as the flute bids 'hasta luego'. "Song to John" is reprised again from their debut album, a shorter version this time with some different musicians and the title says all you need to know. Acoustic guitar played with a flamenco flair that boggles the mind, knowledgeably controlled, fingered with blazing velocity and oozing immense feeling. The trilling flute gets its say, the piano as well, and the gentle percussive work acts as a comfortable sofa on which to emote properly. A perfect speed ballad. LOL

Another extended slice of fusion is to be discovered on "End of January" (ironically as I write this on the 7th of said month, it is -15 Celsius outside), starting out quite sedate and ponderous, flush with delicate licks, a very laid-back mood that (of course) picks up haste, as the pace heightens. As a lovely bass clarinet offers a different tone, with Ivan Mellen adding mounds of percussion, one is briefly reminded of "Bumpin' on Sunset", a classic Brian Auger's Oblivion Express masterpiece. The flute spotlight is vivid and intense, this is terrific instrumental music. A heartfelt lament "Maktub (for Sami and Laura)" has a definitive reverential connotation, as it means 'destiny' or 'as its is written' in Arabic, a serene expression of deep emotions that can be found between siblings, parents or lovers. Mannola's electric guitar tortuously veers from one sentiment to another, often urgent and compelling, while also reflective as if paying homage. Bilanin then whips out his synth and does some fingertip magic, bending masterfully notes that would make the Czech master proud. The contrasts are exceptional as they remain deferential throughout, maintaining the purpose above the flash.

The veil comes down on the blistering "One for the Road ", a manic, at times savagely restless, a bar burner (I omitted the n on purpose) that exudes the finality of the last call, dishing out some musical aguardiente to kill off all the inhibitions before retiring for the night. It is also the platform for each musician to show off more of their exuberant side and the soloists in particular expand unashamedly. The aquatic bass is a particular treat. A new band that jazz-rock, fusion fans should lap up in a hurry, as all 4 albums are a joy. As the toreador once said, this is no bull. It's a monster jam.

4.5 Ethereal horizons tszirmay@gmail.com

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