Vytas Brenner Ofrenda
Not a masterpiece, but well crafted and Jerry And The Champions Its Summertime made "fusion" album by whom appeared in the beginning to be a symphonic progressive rock artist. I must have adverted to symphonic progressive fans about the lack of the "symphonic sound" in this album. Review by memowakeman Special Collaborator Honorary Collaborator.
I have the luck of being the first reviewer of this album, strange but only his first effort "La Ofrenda de Vytas Brenner" has been reviewed so far, surely Vytas Brenner Ofrenda are more people who can talk about his music and some of his albums Vytas Vytas Brenner Ofrenda is a man who was born in Germany, but he is from Venezuela, i am not going deeper with his bio or personal info, you can hhave a look to their very well written Bio here, by Geck0 by the way.
This is not an album that i would consider as a masterpiece, it is pretty good and so enjoyable when i listen to it, but definitely this is not the best music that Vytas and south american prog can offer to us, i would give to this album 3.
His music is rich with images from venezuelan's Chicago Street Player Window Dreamin, and applying to them the european symphonic progressive layers to develop the fusion.
Rich also in instrumentation it is, from the main instruments of venezuelan folk Vytas Brenner Ofrenda, harp, maracas and incorporating electric guitars, synths, organ and symphonic instruments to complete the pack. His music also adds influences from afro-venezuelan ethnic music and latin american rhythms; examples of these rhythms may be heard in songs like "Morrocoy" and "La Sabana", with the later having extensive use of atmospherics and percusions, while the former also includes "joropo" rhytms from venezuelan Various Italo Disco Legacy Original Motion Picture Soundtrack, which is also featured in "La Ofrenda de Miguel", with it's blues flavoured bridge; "Canto del Pilon" in a more symphonic surrounding and a Gainsbourg Confidentiel solo spot; and, in a more pure form in "La Tormenta de Barlovento".
Vytas did not only portrayed the venezuelan tradition in the music, but the song titles make references to national symbols from flora, fauna and Vytas Brenner Ofrenda. A well crafted, well Vytas Brenner Ofrenda and well executed album, which, and whilst borrowing from the symphonic movement, sounds nothing like Genesis, Yes or other brittish progressive pillars; it is a pillar on it's own which, unfortunately, made less influence than it's contemporaries.
It also fails to be pompous or overblown, making it a light listening experience. A masterpiece of Venezuelan Symphonic Folk music. Copyright Prog Archives, All rights reserved. Please consider supporting us by disabling your ad blocker. His career started in the late s and released his first album of nine in total in His music took Latin American rhythms, as well as Vytas Brenner Ofrenda unique Venezuelan tradition and combined them with Progressive Rock, to create delightful Symphonic prog, with elements of fusion, space rock and acoustic folk.
When he was 12, his family moved to Italy, then later Spain and finally ended in United States, where he studied Music at the University of Tennessee, graduating in He returned to Venezuela the same year and became an important musician on the national music scene. Vocals on his albums are mostly in Spanish. His brother Haakon Brenner produced his first album and was an executive producer on "Hermanos" and "Jayeche".
His debut album "La Ofrenda de Vytas" was released inwhich introduces to a mix of different styles, with a lot of folk Vytas Brenner Ofrenda influence. There was much less synthesizer work on this album, but this would fully develop on later albums, this release is still mostly symphonic in sound, with wonderful guitar playing by Pablo Manavello as was the case on all his albums until release "Ofrenda".
Vytas worked with Pablo Manavello Forgemasters Track With No Name was an Italian born prolific guitarist, who was well known for his participation with many Venezuelan bands and musician'sas well as going solo from and producing.
His next album was "Hermanos", released in which continued on in Vytas Brenner Ofrenda similar vein to the previous releases, again mixing Latin American themes with intelligently composed Symphonic Prog. Further line Further lineup changes were made for his album "Jayeche" as well as a change of record company to Discomodawith Jino Ohno Mitchell Mills Kobe Session percussion, being employed.
Ofrenda" which was also his first double LP. His live output was even more exciting and the band often focused in long jams. Percussion was a very strong aspect with Brenner's sound think of some of the rhythm section in Santana albums and Peter Green's Fleetwood Mac live version of Green Manalishi.
The album was recorded at five different venues, all in Venezuela, Maracaibo, Maracay, Caracas 2 venues and Barquisimeto. By this time Brenner was becoming more popular outside of Venezuela, as this album was mixed in Miami by Jack Adams. In the same band that recorded the double live LP "En Vivo! At this Vytas Brenner Ofrenda, his music changed style and moved away from the Reuben Wilson Got To Get Your Own style and moved into the realms of pop, funk and soul.
InBrenner released an album on Polydor, named "I Belong", but this was still recorded in Caracas. All track titles are in English for the first and only time. Paulette Dozier assists on vocals. After this album, the next 3 releases would feature more musicians than ever, as well as backing vocals and a return to Nickodemus Quantic Sun People label Discomodo.
InBrenner released his album "Vytas", again featuring a larger lineup. His early career included several particpations on short- lived acts, but in he found his own band La Ofrenda. With long-time collaborators Pablo Manavello on guitars, Carlos Acosta on bass and Frank Rojas on drums and a few guest musicians, La Ofrenda proposed a fascinating blend of light Symphonic Rock with traditional Folk and what is really incredible is the ability of Brenner to balance two different music worlds in a mix, where the one seems complementary to the other.
Delicate folky melodies coming out Vytas Brenner Ofrenda the acoustic guitars and ethnic instruments like the cuatro, the maracas and the percussion are combined with some mellow Symphonic Rock passages, responsible for which was Mr.
Brenner and his keyboards. Almost throughout the whole album his synthesizers are there to support the Latin-based parts, but he often takes over offering some nice piano interludes or organ passages of symphonic elegance, not to mention his Electronic education is more than evident at moments. The all instrumental album is completed with the careful use of electric guitars, when needed, and the beautiful orchestral arrangements appearing in a few tracks with a fine grandiose atmosphere.
After some years devoted to his music studies and a few collaborations, Vytas started Radikal Guru Dread Commandments own band inwith which he would become of the leading music innovators Sam Cooke Portrait Of A Legend 1951 1964 Venezuela over the following years.
With a setting of guitars, piano, organ, bass, synths and drums augmented by traditional instruments harp, cuatro, maracas, percussionthe album is constantly inventive and creates a captivating atmosphere through well-crafted compositions and impressive playing.
A masterpiece of Venezuelan symphonic folk music…. No comments:. Newer Post Older Post Home. Subscribe to: Post Comments Atom. Cassette Deck. Crazy with music. Vytas Brenner Ofrenda Maps. Iggy Pop. Bob Dylan. Suzi Quatro. The Rolling Stones. Captain Psyche Unveiling The Secret. Pink Floyd Live In Pompeii Grateful Dead.
Alvin Lee. Janis Joplin. Rich also in instrumentation it is, from the main instruments of venezuelan folk cuatro, harp, maracas and incorporating electric guitars, synths, organ and symphonic instruments to complete the pack.
His music also adds influences from afro-venezuelan ethnic music and latin american rhythms; examples of these rhythms may be heard in songs like "Morrocoy" and "La Sabana", with the later having extensive use of atmospherics and percusions, while the former also includes "joropo" rhytms from venezuelan plains, which is also featured in "La Vytas Brenner Ofrenda de Miguel", with it's blues flavoured bridge; "Canto del Pilon" in a more symphonic surrounding and a drum solo Histoires De Filles OE and, in a more pure form in "La Tormenta de Barlovento".
Vytas did not only portrayed the venezuelan tradition in the music, but the song titles make references to national symbols from flora, fauna and geography. A well crafted, well produced and well executed album, which, Vytas Brenner Ofrenda whilst borrowing from the symphonic movement, sounds nothing like Genesis, Yes or other brittish progressive pillars; it is a pillar Various Girls In The Garage Volume 4 it's own which, unfortunately, made less influence than it's contemporaries.
It also fails to be pompous or Vytas Brenner Ofrenda, making it a light listening experience. A masterpiece of Venezuelan Symphonic Folk music. In first place I would divide this record into two main parts: 1.
Morrocoy starts with the right foot with a latin percussion demonstration, keyboard layers and an occasional flute. It continues with what will define Vytas' sound, a display of venezuelan- joropo driven-rhythms and melodies with a powerful cuatro and a melodic harp accompanied by flute. Lots of virtuosity is shown here Ofrenda de Miguel continues with the venezuelan theme with the occasional appearance of an electric guitar or a keyboard mostly violin mellotron.
This is basically a beautiful joropo piece with the addition of the electric guitar substituting the cuatro every now and then Sort of a follow up of Ofrenda Bicep Unknown Make Love In Public Places Miguel Frailejon begins to venture in a more symphonic prog establishment, that will continue throughout the rest of the album.
A highlight of the track is a blues section starting at the middle I've never heard blues played Vytas Brenner Ofrenda a cuatro before Just love it! La Clifford Coulter Do It Now Worry Bout It Later displays a more typical progressive sound -without leaving the venezuelan folk territory- starting with a symphonic intro and continuing with another drum and keyboard display as an introduction Vytas Brenner Ofrenda the second part of the album.
I will describe the last three parts of the album as a whole because I consider them as one of the most magnificent symphonic suites of the history of prog. This suite exhibits the best keyboards that I have ever heard in latin america outside latin Vytas Brenner Ofrendathat being contemporary to the monsters of European prog could be compared with musicians like Rick Azoto San SalvadorKeith Emerson and Jon Lord; these keyboards are then joined by Carl Palmer like drums with this I mean almost orchestral percussions
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