BLEZQI ZATSAZ

Keith Emerson has a lot to answer for.

This Brazilian band is really the project of Fabio Ribeiro and the other musicians here is hired hands, if I am not wrong. The result is an album that both gives pleasure and some frustrations.

Some of the more grandeur melody lines here is good. The opening track L'Etre et le néant is a great track. Then this album is heading south and pretty sharply too. The main problem is this keyboard noodling with some guitars too thrown in on melodies which is simply not good enough to fulfill the ambitions of this album. This album is not bad. It is just pretty dull at times and nose dives into the Muzak category. Elevator music or shopping mall music in other words. This music does not have balls and no soul. When that is said, this a good keyboard driven symphonic prog album and if this is your cup of tea; you should probably purchase this album. I have to admit that this album is not for me. A good album, but nothing more.

3 stars

Sometimes mistaken as a normal group,BLEZQI ZATSAZ were actually a solo-project of keyboardist Fabio Ribeiro,before entering the prog metal scene with ''Angra'' and ''Shaman''.Ribeiro attended both guitar and keyboard/piano lessons as a young man and participated in a couple of bands during the 80's before creating his personal work.This would come in 1991 with the beautiful title ''Rise and fall of passionate sanity''.

The album can be described as a personal bet of Ribeiro around his classical studies,as it presents a grandiose,full-blown symphonic work,filled with a number of different keyboards and electronics.The sound is not that far from what TEMPUS FUGIT presented as little later with hints of JEAN MICHELLE JARRE.Here melodic guitar solos are blended with classical-based synths and deep electronics to create excellent instrumental soundscapes.Digital synthesizers with bombastic passages are folowed by the nice use of the Minimoog and the numerous classical piano parts,full of delicacy and beauty.However,the album will propably be characterized as a tiring one for anyone not deep into the massive use of keyboards and electronics,but instrumentally speaking it alternates constatnly between more intense and smooth moments.Keyboard freaks will love this one to death,for all the others you should check some samples first before purchasing.Nevertheless,a recommended release of pure symphonicism.

This second (and last so far) album from this Brazilian band is more achieved than their debut which was released some nine years prior to this one.

The same great musicianship and gorgeous keys (from Fabio Ribeiro who is the head & soul of this band, or project as he called it) are felt throughout the whole album which is fully instrumental. There are undeniable Yes, ELP or Genesis influences on the synths but this is fine with me like in Parallel Paradise or Ways Of Control. This last song is excellent and features some very nice fluting and superb guitar, really.

Most songs have an excellent bombastic flavour; but the music is not pedant therefore. Gifted people playing inspired and symphonic music: that's it. Maybe that some nice and melodic vocals wouldn't have hurt but so is it.

With so many members in the band, it is no wonder that some sections of this album sounds really grandiose. The guitars during Thy Fake are so wonderful. It is one of my fave track.

Classic music are often mixed with prog elements (The Well Tempered Dunbar) and as such are quite interesting. They are really burned into modern prog music. I am not a deep lover of classical music, but I can stand these parts very well.

Most of this (long) album is a pure enchantment for the listener. The pastoral and so moving Azzivullas' Suite leaves me speechless. The intro is just phenomenal; it's just a pity that it only lasts for two minutes (the intro I mean). It is the epic track of this album and the fluting is pretty extensive and adds a very light feeling to the ensemble.

The beat changes are exceptional and this song is probably the most bombastic of their whole work. Some sort of ELP, with added emotional fluting and passionate guitars. Can you believe this?

The whole band is at his best here and I would like to have a special mention for Hugo Hori who has a major role on flute and sax: he is simply brilliant. I like this piece of music very much. It is a highlight, but frankly this whole album is such a magnificent travel into the world of symphonic music.

After some weaker songs, the band comes back as strong as ever with the splendid Gates Of Ixtlan. It is another fusion of keys and guitars which should please any symphonic passionate.

I will rate this album with four stars. A bit too long maybe. But still, it is a solid and extremely pleasant album. It is only a shame that only one commented review before mine was posted for this excellent album. Wake up guys, there's a good Brazilian band out there!

Quite a strange name for this Brazilian band !

Very good musicianship (specially the keys are great, thanks Fabio Ribeiro). This instrumental album is truely pleasant to listen to. Bombastic moments ("The Last Wisdom" and especially "Heart & Soul" which is my favourite : fantastic guitar play here as well), intimist piano passages ("Mind").

"Friday Twilight" 's intro sounds like "Horizon" from "Genesis" and develops quite remarkably into a very melodious song with lots of guitar & synths.

Although some influences are obvious (Yes, ELP) it was quite a good surprise to discover this band.

Lots of very short tracks though on this album (7 of about 1'30" which is quite short to really develop an idea). Not essential but still this album deserves a listen. Three stars.

**1/2

Keyboard driven prog. This is Fabio Ribeiro's brazilian keyboard attack. The music is sadly very derivative to my ears because the other instruments seem to only serve the keyboards. When there is room for some guitar soloing it doesn't convince. This makes the listening experience rather dull after a while. The keyboards are almost exclusively digital. In the liner notes there are exactly 20 different keyboards mentioned. A good thing is that Ribeiro clearly is a very skilful player and if you prefer prog where the keyboards totally dominate this album could even be a jewel. There are some melodic lines here and there that will please fans of this style.

I have the original version of this album and the production quality is quite bad. Apparently the 2000 release has a better sound quality or at least that is what the other reviewer Fitzcarraldo says in his review.

Conclusion: For fans of keyboard driven prog.

It had been a too many years period between Blezqi Zatsaz's first and second albums: keyboardsman-composer Fabio Ribeiro has taken his time before he finally gathered the repertoire of "The Tide Turns" and recorded it with partners on guitars, bass, drums and, occasionally, wind instruments. BZ's musical vein is the same symphonic trend that had been followed in "Rise and Fall of Passional Sanity", albeit, due to the most varied instrumentation (particularly, a major presence of guitar and the inclusion of sax and flute), the pompous tendency is more controlled, that is, ordained with a more discrete dose of grandiosity. But, of course, Ribeiro's keyboards assume the leading role all throughout the album, specially when it comes to laying the basic harmonics or displaying the orchestrations in the most epic passages of the repertoire. Wakeman is the most featured influence in Ribeiro both as a writer and a performer, and it certainly leaves an unmistakable mark on the band's overall sound, whose symphonic leanings may also remind the listener of their compatriots Tempus Fugit and Quaterna Requiem - getting into more detail, it's fair to say that BZ's sound is generally more consistent than the former's and less majestic than the latter's. The first 4 tracks epitomize what Blezqi Zatsaz is all about, with 'L'Etre et 1e Neant' and 'Parallel Paradise' bringing the most effective melodies and the most energetic performances. Immediately after, 'Thy Fake' takes a calmer mood, very much oriented toward the lines of neo-prog with a slight touch of jazz-pop: the soprano sax helps to create a somewhat romantic, gentle mood. But then comes the pretty much Baroque-inspired track 6 in order to spice things up again: 'The Well-Tempered Drawbar' may remind us of Trace to a large degree. 'Ways of Control' shows BZ at their most bombastic: this time, Ribeiro's keyboard work sounds less like Wakeman and a bit more like Emerson for the first half of this number, while the second half sounds more like Bardens-era Camel with a Yessian twist. The longest composition is 'Azzivullas' Suite', but not the most complex: in fact, this piece sounds more like a showcase for melodic symphonic prog adorned with some sort of new age thing. The extended room for the expansion of attractive melodies and the overtly stylish performing labor help to create a soft mood: more than epic, this suite is an emotionally rich excursion, designed to smoothly captivate the listener who enjoys the main motifs. The lyrical mood is perpetuated in the next track and in the first part of 'Soul Mirror', while 'The Gates of Itxlan' fuses the bombastic and the lyrical fluidly. Finally, 'Once and Again' closes down the album as a sort of epilogue: a repeated motif is effectively delivered with successive slight variations in a pompous manner. This is a very good album, indeed, which shows a clear improvement from the previous BZ album: "The Tide Turns" would make an excellent addition in any symphonic prog lover's collection.

".please tell us what the Hell does BLEZQI ZATSAZ mean?" So say the sleeve notes for this album by Brazilian keyboard wizard Fábio Ribeiro and the three other musicians (guitars, bass and drums/percussion) he gathered together for this project, recorded in 1990 and 1991 (bonus track recorded in 1995).

I'll tell you what BLEZQI ZATSAZ means: 54 minutes 35 seconds of keyboards-dominated instrumental music with soaring guitars in places that should leave many synthesizer aficionados impressed. Putting aside the instruments used by the other musicians, just consider the equipment Fábio Ribeiro used on this album: ARP Odyssey, Casio CZ101, Casio CZ1000, E-MU Proteus 1XR, Kawai K1M, Kawai K3M, Kawai K4, Korg M1, Korg T3, Korg DSS1, Minimoog, Oberheim Matrix 1000, Roland D70, Yamaha DX7, Yamaha SY77, Yamaha QX5, Eventide H3000SE, Atari 1040ST (C-Lab Notator), Korg 01/WFD, Korg 01R/W, Korg 03R/W, Korg X, Yamaha DX7S. The sleeve notes thank, amongst others, Bob Moog ("for everything") and RICK WAKEMAN, although it's not clear whether the two actually helped Ribeiro or whether the former is simply being thanked for inventing the Minimoog and the latter for inspiration.

This is bombastic symphonic Progressive Rock with melody; we're not talking psychedelic 'electronica' here. Fans of RICK WAKEMAN and VANGELIS may find this album of interest. The album is Music (Ribeiro even includes some Bach in one piece) but, as synthesizer fans might expect for such a project, a host of interesting synthesizer-generated sounds are scattered liberally throughout the tracks. The 2000 release has a rather unexpected bonus track: 'Snowman', Ribeiro's synthesizer-driven instrumental interpretation of the song 'Walking In The Air' written by Howard Blake and covered by Ritchie Blackmore's RAINBOW as 'Snowman'. The song was written for the animation of Raymond Briggs' story "The Snowman", first shown on TV on Christmas Eve 1982 (I remember it well!).

The album starts off with 'Dawn', tinkling sounds giving way to wailing synthesizer, breathy 'pipes' and chirps, and then courtly, medieval-sounding 'trumpets' and 'strings' make a majestic entrance.

'The Last Wisdom' initially has a very electronic sound in the vein of VANGELIS, but then bops along with drums and guitar accompanying, again with synthesizer sometimes sounding like orchestral strings. The 'buzzy' synthesizer in this track is not always so pleasant to my ears, but overall the track is not bad.

'Mind' is a short track with haunting, tinkling 'piano' and 'owl hoots', leading into the track 'Heart and Soul' which is reminiscent of VANGELIS (and Greece) at the start but then ups tempo and bops along with foot-tapping drums and percussion supporting some quite fast synthesizer, dreamy guitar, 'strings', 'flute' and 'clavichord'. A good track.

'Shine' is a very short piece with 'horns', leading into the 'piano' of the track 'In A Flash': a calm piece with 'flute' and 'horns'. It sounds a bit twee, but only for a minute, because then the guitar comes in briefly to rescue the track and it then mutates into 'piano' and 'soprano saxophone' à la KENNY G! It's slightly corny, but very laid back.

'Friday Twilight' starts with some 'cymbal', lovely acoustic guitar, and then comes tambour, the creaking of the deck of a wooden boat (the 'boat' rolls from side to side if you've got headphones on!) and in comes a good beat and synthesizer that, to me, is again reminiscent of VANGELIS. The 'deck creaking' sound is very evocative and I like this track. Apart from the creaking sound, there are all sorts of other synthesizer-generated sounds such as clanging ship's bell and bow waves as the 'ship' ploughs through the 'water'. Then comes some oriental-sounding synthesizer and nice 'flute', then more synthesizer which this time reminds me of JAN HAMMER, then 'trumpets' heralding some excellent, soaring guitar licks followed by some buzzy synthesizer emulating the soaring guitar. Surprisingly, it just fades out at the end. Still, it's a super track and probably my favourite of the album.

The start of the short track 'Haunted Recollections' again reminds me of VANGELIS. There are many interesting sounds: 'seagulls' and echoey 'whales'.

'The Wrath' is a boppy track, again with 'horns', 'flutes', 'chorus' and a marching, slightly medieval feel at the beginning but feeling more modern about a third of the way through, at one point lapsing into jazzy barroom 'piano' with guitar, fat synthesizer and various synthesizer sounds in the background.

'Void, The Partner' is a short, sombre track with all sorts of echoey noises in the background, synthesizer dancing around like rats, then Arabic 'pipes' in the foreground. Anyway, think Edgar Allen Poe. But then the tinkling 'bells' come in, followed by 'clavichord' to kick off 'The Rising', with a thumping backing and catchy key-tapping rhythm underlying fast synthesizer, followed by Bach 'organ' (which does sound good: the reverb!). The second part of 'The Rising' kicks off with a catchy thumping drum, 'clavichord' and 'harpsichord' on top and 'trumpets'. Damn good track, with a majestic 'organ' and 'xylophone' ending.

And then comes the bonus track: 'Snowman' (see earlier) to nicely round off the album, with a slow, thumping KRAFTWERK/VANGELIS beat.

The production is excellent, the recording is as clear as a bell, and the large mix of sounds (predominantly synthesizers) is impressive. The stereo effect and all the nuances are especially pleasing when you listen using headphones. In my view it's more background music than foreground music though - perhaps the sort of thing you would have playing at the beginning of a big event in a stadium for effect (hope that does not sound critical). I think this album would be simply *adored* by some and regarded as derivative by others. The musicianship and attention to detail is unmistakable: a myriad of sounds carefully woven into the music by Fábio Ribeiro. He wrote all the music except for 'The Last Wisdom' and 'Heart And Soul' on which he was co-author, 'Shine' and 'Snowman' (well, and the snippet of Bach in 'The Rising'). The album is very much a showcase for Ribeiro - the guy is a wiz of the synthesizer and clearly loves what he does. As a taster, you can check out a couple of the tracks from this album on the BLEZQI ZATSAZ official Web site - the MP3s take a bit of finding, but they're there: 'The Last Wisdom' and 'The Rising'. I enjoy listening to this album and am glad to own it but, even though I am a big fan of keyboards, have to say that, in my opinion, it's a 3-star album (Good, but non-essential). But it's a very good non-essential album!

Instrumental keyboards driven symphonic rock from Brazil with brilliant moments. Sometimes bombastic, sometimes classic, it seems to be a big Rick Wakeman influence in Fabio Ribeiro, the BZ keyboardist. The whole album is very good -even when there are not super complex structures- because melodies are really nice and the playing is magnificent. Recommended.