This is the third disc from Beledo that I have reviewed. Like the others this is a fusion release. We always include fusion under progressive rock. This is compelling music that at times leans toward more mainstream jazz, but also gets pretty crazed at other points. While Beledo handles guitars, acoustic piano and violin, there are a couple familiar names among the remaining cast for readers of MSJ. One of those is Gary Husband who plays both mini-moog and Fender Rhodes electric piano. The other is drummer Asaf Sirkis. This is another strong release from Beledo. In fact, it might be my favorite of his so far.

A flute gets things underway here. That instrumental holds it for quite a time, but an acoustic guitar joins after a time. The number continues to build based on just those two instruments. Then after the two minute mark drums take control. The number shifts out to a more fusion based jam from there, but both the guitar and flute remain prominent in the mix. There is some smoking hot violin soloing later in the track, but everyone puts in exceptional performances on this thing. It gets very powerful before it’s over.

This comes in strong, working within a full jazz and fusion arrangement. There are some intriguing timings and plenty of smoking hot instrumental work. There is also plenty of class and style.  

At more than 11 minutes long, this is an extended piece. It also features some smoking hot fusion work. It’s so strong. There is some absolutely fierce jamming at times, and this works through some great shifts and changes. I’m not a big fan of drums, but the percussion gets so powerful on this thing, too. The intensity and overall instrumental interplay on this is just off the charts a lot of the time.

Running almost exactly ten minutes, the title track is another epic piece. It has some potent music built into it, too. That said, the intensity ramps down a little from the previous composition. It’s definitely a fusion number, though. This gets more powerful but never reaches the level of the previous cut in those terms.

There is sort of a study in contrasts on this number. It has some of the most powerful and freeform fusion jamming of the whole album. On the other hand, it also gets into some mellower flute dominated territory, too. That variation really serves the track well.

I particularly love a lot of the piano work on this. At times it leans on more mainstream jazz. At other points it drifts more fully toward fusion. The guitar is so passionate on this thing.

This is a powerful fusion jam that at times reminds me a little Al Di Meola. It seems to get into more Pat Metheny territory later. There is definitely some powerhouse stuff later.

At more than 16-and-a-half minutes of music, this is the epic of the set. Amidst some studio banter a piano gets us underway. Guitar rises up to join after a time. This works out to some killer fusion with a shifting and evolving arrangement. There are some funky elements at play at times. I really love that. Then again, everything about this works so well. There are some sections that focus more on soloing of various instruments. It gets pretty freeform at times, too. It gets very crazed with a noisy exuberance in a section past the halfway mark. This continues to evolve with some seriously powerful jamming taking it in intriguing directions further down the road. There is a short bit of studio banter at the end.