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Invocacion AlbaLunga (fragment) Peritoen Lunas Los Amorosos Irulan Presagio Las esquinas del Tiempo Umbriopor la Pena La Cofraida (fragment) Diascomo Agua (fragment) La Nave Blanca Enel Corazon del hombre Marzode l42 La Tarde del Traje Morado (fragment)
All compositions written, performed*, recorded and produced by Jose Ledesma. (*keyboards, electric, acoustic & bass guitars, percussion, flute, ocarina, back vocals) Executive producer: Juan Jose Salas Resendiz.
Additional musicians: Ma Elena Duran - vocals on 7; Alquimia - vocals on 11; Beatriz Luna - voice on 13; Julio Sandoval - bass guitar on 3,5,13&14; acoustic guitar on 6; Francisco Lelo de Larrea - electric guitars on 10&14; German Bringas - saxophones on 4&10; Ramon Nakash - violin on 4&6; Laura Herrera - bongos on 5; Alejandro Schmidt - solo electric guitar on 9; Francisco Delahay - acoustic guitar on 11; Sergio de Regules - synthesizer on 11
The full name of the hero (who is a real Hero of Progressive Rock, btw) is Jose Luis Fernandez Ledesma Q., though I don't really know what the last letter stands for. But what I do know is that "Extractos" is not Luis's debut studio album, as I've lately noticed another one from him, dated of 1994, in the back Musea catalogue! Those of you who have read my review on Jose's collaborative work with Maria Botello already get a hint at the musical ways this Mexican maestro goes. "Extracts", taken from the various, mainly "theatrical musical albums" of our hero (and I really wonder how fruitful this unique composer is!), however, show another creative side of this true Master of Muse. Speaking specifically, "Extractos" represent a melodic yet quite complex at the same time, simply brilliant mixture of Neo-Classical Music with structures (arrangements, etc) directly relating to Classic Symphonic Progressive Rock. The majority of compositions are pure instrumentals and a larger part have practically real acoustic sounding - with pianos, acoustic guitar and bass, flute, violin, etc and sometimes with gentle yet exceptionally tasteful and masterly work of percussion. Even pieces created with help of electric musical instruments have the same warm, almost acoustic sounding: first of all because all rich orchestrations (as well as everything on the album, though) were performed by maestro wonderfully. Angelic female voices of true 'operatic quality' can be heard on both vocal based tracks, while vocalizing on track 13 goes over mind-blowing development of arrangements, the most complex and intricate on "Extractos", although Marzodel 42 sounds less than 5 minutes. What can I add here, apart from the words depicting my great love for the music of Luis Ledesma? But these words were said already, and need I really define a word as love? Still, I'll add something more... This is not simply a sure-footed classic for the future, this is immortal music. Also, believe it or not, I feel this wonderful harmonious music with some mysterious positive energy in itself, is even able to heal! Though, of course, you could response to that like: "Thanks, I'm healthy, but what about the music?" All right, do you remember my attitude to 'progressive' Neo-Classical band The Enid from the UK (it's very positive, just read my reviews: http://www.progressive.net/reviews/enid_1979.html and http://www.progressor.net/e.html#enid_1978)? Then know, being compared to any work from Enid music of Luis Ledesma is more harmonious, smoother, warmer, more inspiring and... much better after all! So, since I use the six-star rating system, I think I should take away a half of the sixth star at least from The Enid's "Touch Me" album. Just listen to both these works and compare.
VM. December 11, 2000
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