Fermata ~ Slovakia

Huascaran (1978)

Another one of those albums from the collection that I haven't heard in close to 30 years. My recollection is this was my favorite of the bunch, so we'll see if that holds up.

The title track opens things up in an epic symphonic prog way. There's vocals, cello, and it's synth heavy. This leads to A2 which is a monster of a track, with a killer riff about 2.5 minutes in. Some pretty mean guitar solos follow. I'm reading some bizarre reviews stating Huascaran is somehow a lightweight fusion album. One would presume they listened to each track before making such a declaration. A2 destroys any notion of the word "light". Side 2 sees the band switchover from prog to fusion. They play the heavy kind, similar to Mahavishnu Orchestra and their ilk. The second part of the title track is the better of the two and features some ripping guitar solos. The keyboard equipment these guys possessed is a dream for 70s vintage gearheads. Huascaran is a concept album built around a devastating earthquake in Peru in 1970 that took many lives, including those from Czechoslovakia. The music doesn't really fit the concept, except it's a powerful statement. So is it my favorite by Fermata? Not entirely sure, but the first three are all essential in my book.

The CD features three bonus tracks, but I cannot determine the provenance of these. There's very few keyboards on the first one (a little piano), leading me to believe it may have been a different era recording. It sounds different, though probably still from the 70s. 'Valparaiso' does sound like an outtake from Huascaran, and is very much in their fusion stage. The final track is entitled 'Perpetuum 1' which presumes it was an earlier composed version of 'Perpetuum III'. It definitely sounds more modern. There's a horn section and the keyboards point to a more modern era. Not to mention Griglak's guitar tone recalling his Simile album from 1991. In any case, all three songs are very good, and make for excellent bonus tracks. 

Now that I look at the Discogs' entry closer, it looks like some of these are from a radio broadcast from 1976. No way the last track is though.

Ownership: 1995 Bonton (CD). Booklet in Slovak. Three bonus tracks. Acquired in 1997.

First copy: 1978 Opus (LP). Acquired in 1990.

1990; 1997; 6/15/26 (review)
 

Dunajská Legenda (1980)

Fermata's 4th album Dunajská Legenda sees the band moving towards the jazz fusion center, which was all the rage back then (though probably two to three years behind the west in retrospect). Opener 'Wlkina' is the typical funky fusion piece, that at first is off-putting, but has a fine mid section. The remainder of Side 1 is quite good, more towards an instrumental prog rock, with excellent melodies and songwriting. Side 2 again gravitates toward the fusion normality. But each track, no matter how trite, manages to squeeze in a few good instrumental passages. In the end, Dunajská Legenda borders excellence, but falls a hair short. A fine album that has aged well for me.

Ownership: 1999 Bonton (CD). The CD can be a bit confusing if not paying attention. The first track 'Perpetuum III' is from their debut album (1975), and even though there are bonus tracks at the end of the disc, this title is not noted as such, and appears to be Dunajská Legenda's opening. It's incongruous to what Fermata were doing in 1980. The reason they did this is, up to that time, the track had not been reissued on CD, so they just added it to this album to complete the task. A kludgy solution at best. Those two other bonus tracks, as mentioned above, are nothing special however. Acquired in 2000.

2000; 9/9/17 (review)

Fermata (1975)

Fermata's debut is a hard hitting fusion album from arguably Slovakia's finest group. Where Fermata creates separation from many of their peers is they never take their eye off of the composition, and actually know how to craft a memorable melody. So it's not just pyrotechnics, though there's plenty of that here too. Some fine psych edged guitar, Rhodes Electric Piano, and fat 70s analog synthesizers to bathe in here. Great start for the band.

Ownership: 1997 Bonton (CD) With Pieseň z Hôľ. Unfortunately this CD compilation leaves off the 11 minute track 'Perpetuum III'. The 1999 CD of Dunajská Legenda does include this piece. And that's the way I own the first album as a whole. Acquired in 1997.

First copy: 1975 Opus (LP). Acquired in 1995.

1995; 1997; 4/15/13; 11/15/14 (review)

Pieseň z Hôľ (1977)

Pieseň z Hôľ sees Fermata taking the debut and amping it up a bit. A little bit more diverse this go round from a compositional perspective, but difficult to imagine fans of the debut - or of the hard hitting Mahavishnu Orchestra styled progressive fusion - being disappointed here. And 'Priadky' has one of those kind of hard driving bass riffs you're not likely to forget soon. What a groove. Great guitar and keyboard work as expected. Another splendid album from Slovakia's finest.

Ownership: 1997 Bonton (CD). With Fermata.

First copy: 1977 Opus (LP). Acquired in 1990.

1990; 1997; 4/15/13; 11/15/14 (review)

Previously owned: Simile

11/22/14 (new entry)

Collegium Musicum - Collegium Musicum + Konvergencie. 1971 Slovakia

Collegium Musicum were from the former Czechoslovakia - now Slovakia - and were one of the earliest adopters of progressive rock in the region. Though from behind the Iron Curtain, where experimentalism was often discouraged, Collegium Musicum turned out to be one of the more wigged out acts from anywhere, anytime. You'll often read the band being compared to groups such as The Nice and Ekseption, but I'm not quite sure which albums by these bands they are hearing. Yes - of course - rocking the classics is more or less the basis for the group's compositions. But it's hardly cuddle up to the winter fire classical music. This is Shostakovich in a bad mood accelerated to 1970.

The debut is certainly the more predictable of the two albums, and can be a bit trite in places. But it's still radical with its long form jamming. Konvergencie is where the band releases the horses from the barn. Here's where the group recalls western European contemporaries such as Trikolon or Elluffant. And in more modern times, the band Steamboat Switzerland seemed to borrow the blueprint from this very album.

The 2 CD set from parent label Opus also includes the bands first single (which is 14 minutes in length (!)) 'Hommage à J. S. Bach' is a good representative of the debut album, whereas 'Ulica plná plášťov do dažďa' is arguably the best composition of the entire set. Here Collegium Musicum demonstrates their ability to be a more compact prog rock band.

Not an easy listen, and not always satisfying, but from an historical perspective it's quite extraordinary.

Ownership: CD: 1992 Opus. Purchased online in the late 90s. Great 2 CD set that includes all of their first 2 albums plus the aforementioned single. One interesting tidbit about the cover (shown): Note the cigarette - which is not found on the original.

11/28/19 (new entry)

Ako Doma - Aliens are Good for Sale. 2003 Slovakia

Aliens Are Good for Sale finds Ako Doma playing in a modern fusion mode. Gone is the saxophone, and with that, the charming Slovakian dance hall sound of their debut. In its place is a late era King Crimson sound, replete with angular guitar - at times with a metal crunch - modern synthesizers, and plenty of difficult music to plow though. If you like guitar oriented fusion, then this will be well worth your time. It's an instrumental style of modern music done countless times since the 90's, and Ako Doma prove to be more than capable to pull it off. Despite their obvious musical acumen, I miss the simple local flavor of the debut. One fellow collector calls out the Racine, Wisconsin based Kopecky as a reference - which is an excellent observation!

Ownership: CD: 2003 Lizard

11/6/12 (new entry)

Ako Doma. 1999 Slovakia

Sometime in 1990, not long after the fall of the Berlin Wall, I managed to slip into Bratislava (though Visa's were still mandatory, who was paying attention?). At the behest of my gracious hostess, she insisted I catch a "local" instrumental band at a municipal concert venue (juke joint?). It was what can be best described as a "dance hall" - brightly lit, smoke filled, and slightly (OK, mostly) dingy inside. The audience was made up of primarily overweight middle aged women, all wearing knee hemmed black skirts and calf high pantyhose. On stage was a heavily mustachioed gentleman wailing on the sax, while a drummer and stand-up bass player briskly kept the pace. The melodies all had a certain popular music base, some Western, mostly Central European - and all based in another lifetime. They were immensely popular with the women as they gyrated wildly on the dance floor. The men drank tall steins of beer and puffed away on pipes and cigarettes, anticipating (perhaps dreading) what was in store for them that night. For this (then) 25 year old, it was an eye-opener. I was witnessing real-time something that I personally saw disappear quickly from the landscape once freedom was attained. For an American in 1990, it was anachronistic to say the least. And I loved every minute of it.

When I first heard the sax player from Ako Doma squonking her notes out, I was immediately brought back to this event. Her playing and melody choices are primarily based in Slovakian pop folklore. Pop, as in 1950's smoky dance jazz-pop. The remainder of Ako Doma apparently spent their wasted youth snubbing their noses at the Authorities and smuggled in King Crimson's Red album, perhaps hoping that if they did get caught, at least the album title would keep them out of hot water. And to say anything further would be redundant: You now know the music of Ako Doma's debut.

It should be noted that the final track, the 22+ minute 'Hrdzavenie', is from a different era of the band (sans sax), and is more rooted in typical progressive rock themes.

Ownership: CD: 1999 Mellow

9/10/12 (new entry)