GRANDBELL

Perhaps the best way to describe GRANDBELL in a nutshell is a more acoustically oriented Latin version of YES with a flute, meaning that they have forged their own identity based on but not directly copying that of one of the masters. Renato Jardim has Jon Anderson's mannerisms to a T, from the sunniness of his disposition to the interspersed LA LA interjections. However, the Grandbell ethos is more consistently sprightly and gentle than that of YES, and no passages on their sole disk are remotely heavy. It's almost a progressive folk record if you base it on the prominent acoustic 6 and 12 string guitars and Roberto Reolon's delicate woodwind work, but then they are acquitted in a more symphonic vein.

I confess to have attended to "Sun and the Embryo" non stop for a week now, which speaks to its stamina, or mine at least, but yet I still can't hum a single bar of the ephemerally appealing melodies. By now, something should have stuck. The closest are "Liberty" thanks to clever development, a rousing emotional chorus and one of the rare lead guitar breakouts, and the title cut, which has similarities to GENESIS' "Ripples" at moments, with a marvelous transition between that reflective style and a more expressive and upbeat vocal part. "Spiral" is also noteworthy for its spaciness, haunting vocals, and dignified air; it also seems intimately connected with Yes' spiritual explorations but easier to decipher.

The point in this expose is that this is a classy album in which a certain je ne sais quoi is missing, that intangible to hoist it head and shoulders above the fray, to sound the bell and leave us standing at attention. Still I could see it appealing hugely to some - it's far more than an embryo of a good album, but not enough to sound the bell and hold us at attention. The very definition of a 3 star album.

A pretty unkown act form Brazil that delivers a mix of symphonic prog, brazilian folk and even some jazzy touches here and there. Their main influence is obviously Yes, specially on the vocal parts, but the playing is more simple and subtle. There are lots of flute that will probably please the italian symphonic fans, although Roberto Reolon´s style is more playful.

The CD was recorded in the 90´s but the general feeling is one of the brazilian prog bands of the 70´s. Thankfully there is none of those horrible synthetic keyboards sounds so many other south amreican groups we using at the time. Henrique Kunz use of the piano as the as the main instrument is a blessing. The overall atmosphere here leans towards the more acoustical side of prog, although there is eventually some good electric guitars runs and generous doses of electric keyboards too (again very 70´s like).

With long compositions and its over 70 minute running time, the CD is varied and showed the band had a great knack for writing melodic, inspired tunes. the production is quite good and teh arrangements are tasteful and well thought. Yhere are no fillers. Also I found hard to point out a highlight, since all the songs are equally well craft and performed. It is only a pity that they didn´t release a follow up so far.

A lost gem form the 90´s no doubt about it. And I was glad I found it! If you´re into melodic symphonic prog, specially those with strong 70´s influence you should not miss this one. It may be a little hard to find, but it is well worth the efford. Rating: four stars.

A delightful, unheralded little jewel of 90's sympho-prog from Brazil. Yes is the obvious influence here, with the breezy melodic style and the Jon Anderson-like vocals of Renato Jardim. Musically, there's some lovely flute playing adding a nice soft texture to the gorgeously melodic tunes. There's a bit of a Latin/tropical feel at times that lends it an unmistakably Brazilian touch.

This is definitely a group effort. No one instrumentalist stands out, they all are there to serve the compositions, which are wonderful. I've found that keyboard players in 90's Brazilian prog bands have a knack for choosing the most irritating synthesizer tones around, but Henrique Kunz is a master of subtlety. He won't blow you out of the water with Wakeman-esque runs, but in playing and in sound selection, he's the king of good taste.

Someone once called this "the best album Galadriel never made". It's hard to refute logic like that. A beautiful and excellent release.