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Raimundo Rodulfo - The Dreams Concerto

Artist:	Raimundo Rodulfo
Title:	The Dream Concerto
Label:	self produced
Length(s):	78 minutes
Year(s) of release:	2002
Month of review:	[07/2002]

Line up

Raimundo Rodulfo - acoustic guitar, classical guitar, electric guitar, mandolin, bass, slide guitar, backing vocals and percussion
Andrés Briceño - acoustic and electronic drums, flugelhorn
Lermit Martínez - keyboards, piano, organ, clavier
César Romano - first and second violins, viola, electric violin
Beatrix Rivas - vocals
Carlos Rodríguez - acoustic bass
Pablo Gil Rodulfo - saxophones
Pedro Castillo - vocals
Alejandro Socorro - acoustic and electronic percussion
Ricardo Furiati - bass, backing vocals
Carlos Orozco - harp
Manuel Rojas - flute
Euro Olivares - maracas
César Hernández - backing vocals
Linda Briceño - flugelhorn
Peter Rodulfo - paintings

Tracks

	First Movement	28.17
1)	Part 1 Suenos	24.14
2)	Part 2 Coda Esperanza	4.03
	Second Movement	17.18
3)	Part 1 Matemática Y Arte II	8.01 MP3 or RealAudio
4)	Part 2 Muestro Al Azar	9.17
	Third Movement	32.53
5)	Part 1 Baroque	15.01
6)	Part 2 La Gran Epopeya De La Música Y Las Ciencias	17.52

Summary

Following his related Suenos - Dreams album, this is the second works of Raimundo Rodulfo with an extremely thick booklet (about 38 pages) detailing all there is to know about the music and the people involved. The music has been evolving over the last 15 years as the man states in the booklet. Pedro Castillo you might know from his involvement with Tempano.

The music

The first track, Suenos, is a twenty four minute study opening with very classical oriented stylings and melodic female, dolorous vocals in the Spanish language. In the continuation we get some strong guitar playing following the main theme of the modern symphony (as the writer himself states it), based in his love for baroque music. Some of the vocal lines are a bit too trite for my tastes, but the music certainly has its appeal. Although in a way it has its own definite identity, it combines the European sounds of Focus and Tull with a more classical approach (say Ekseption), chamber orchestra like arrangements, some Hackettish guitar playing and the temparement and melancholy of South America. Most of the time the music is quite accessible and the music is not what we might call typically progressive, only sophisticated. Later however, the music enters more into the rock format with drums and the like. Violins and high pitched guitars (way back in the mix) continue to reveal a sadness in this track, although halfway the vocals sound almost hopeful and are quite energetic with good vocal melodies. Following this the music reaches another guitaristic climax with nods to old Genesis (yes, again in the guitar work), but also a melodic flute setting in. I am getting to like this. Time for some more frolic music now, with a folky feel: violin, flute, dancing acoustics and the like. The rolling drums are fine here, but the keyboards sound a bit cheesy. It also seems to me the production at time leaves something to be desired. The rolling drums continue when also a male vocalist, probably Raimundo himself (Raimundo later told me this is Tempano's Pedro Castillo), enters the picture. This part is one of heavily punctuated, but still slow moving symphonic rock, quite bombastic and climactic, lined with saxophone. In the final few minutes, some of the strong vocal melodies recur again sung in a loud emotional fashion, but also revealing that the recording could have been done better. The song ends with a long climax on guitar. Notwithstanding some cheesier parts a good attempt at a long epic and one in which the length of 24 minutes does not stand in the way at all. Esperanza is a much shorter coda in which Rudolfo wanted to have a more optimistic antidote to the emotionally rather moody first part. Esperanze is indeed a frolic tune with plenty of Latin American influences, both in the way of playing and the instrumentation.

The second movement opens with Matematica Y Arte II, a continuation of the first part from Rodulfo's first album. This is a rather fast and flashy track, very progressive sounding, a strong bass presence, and with some abrupt breaks as well. Instrumental rock of the more fiddly kind, but with a good groove. For those interested in the mathematics, consult the booklet. The rhythm section in this track takes on a different guise later on with the guitar soloing over various complicated percussion patterns. The music has gone from melodramatic classical inspired to something more claustrophobic reminiscent of experimentalism in Crimson style, or even more avant-garde. Quite a step. On the other hand, some of the melodic Suenos themes are still with us. However, the saxophone gets some heavy duty wringing out, it barely survives. On track 4, Muestra Al Azar, the experimentation continues and if you are looking for pointers, look to the great Crim. The music is often percussive and sparse, with ethereal guitars, and lots of electronic percussion. The music continues with more fluency and drive, but also some dull sounding drum computers. And yes the Suenos theme is still with us, although less overt than earlier.

The third movement consists of the Baroque track, written fifteen years earlier and La Gran Epopeya De La Música Y Las Ciencias. The first of these opens nicely with acoustic guitar, later the music gets more frolic when the somewhat manic chamber orchestra sets in. I am actually not fond of baroque at all, so most of this music is not really for me, although admittedly it has its moments. I especially can appreciate the acoustic guitar playing, but not the stateliness of the harpsichord/chamber orchestra parts. Fortunately, it is not all like that, because Rodulfo also includes some more somber modes into the music along the way, for instance around the seven minute mark. Around the ten minute mark, the music gets a bit too fiddly, and there is too little fluency. Then however, the music seems to pick up again. The finale seems to be quite moody with plenty of flute. The second part of the third movement continues in the same vein (and like the previous track also features the Suenos theme again, but much more overt). One could say that the music here is a return to the first track, and it also includes vocals with intricate arrangements and the clear vocals of Rivas. The middle part contains some typical classical phrasings as well as some up tempo progressive rock, but never too rocky. The electric guitar features quite prominently here. Surprising is the fast guitar playing evident towards the end, but unfortunately for me the music does not continue the drive of that part.

Conclusion

For those who like classical music as well a progressive rock, this might be a concept worthy of attention. Rodulfo really thinks about what he does and for those who like, the story can be followed in the booklet. Rodulfo tries to do a lot, but never forces his hand: the music is varied, the second movement being totally different from the other two, but I had not problems following it. In the third movement there is a predominance of Hackett influences combined with the temparement of Latin America. One might also think of Focus or Ekseption here, classical influences abounding. The second movement sees us in a more experimental waters with Crimsonesque electronic percussion and guitars. The third movement sees us back with the classical influences, and because I am not that fond of baroque music myself, this movement I liked least. However, if you have no such problems you should soon feel at home with both the intellecual first part and the more active and varied second part. The recording was not always great, but do not mar the overal end result which is packaged in way that ought to discourage cd copiers.