JAIME ROSAS – TRES PIEZAS DE ROCK PROGRESSIVO (Mylodon Records) (DL) (2025)

There’s an unmistakeable Emerson, Lake and Palmer influence from the off on ‘Cueca Contemporánea’ (The cueca is Chile’s national dance and the meter shifts from 6/8 to 3/4 “with a bit of Bach, then into a blues”) from this accomplished album by Jaime Rosas. Braulio Aspe is his Lake and Fernando Jaramillo his Palmer. It is best to turn to the interview in the latest issue of ACID DRAGON magazine to hear directly from Jaime himself as he explains that his music comes from the European tradition exemplified by Bach, Beethoven, Mahler, Stravinsky and Tchaikovsky.

‘Contrarobot’ derives from his ‘Progressiones para Piano #2 and #3’ with “rhythmic exploration, harmonic development, using tools like fugue, counterpoint (as on the opening piece), dynamics etc.” As Jaime says the pieces pays homage to the sonic languages of SF-Isaac Asimov’s laws of robotics in particular with human and robotic voices in English and Spanish and a reference to ‘Karn Evil 9’ depicting the man/machine struggle, ending with a Moog sequence, suggesting victory for the robots! ‘Reflexiones’ has some haunting balladic piano to contrast with the frenetic Moog and a Hammond organ solo; surprising, varied and unpredictable; it all makes for a fabulous sonic experience. ‘La Cueva del Mylodon’ (I hear soupçons of Egg) is dedicated to Juan Barrenechea and Jaime describes it as one of the best compositions of his career; it’s hard to argue (and the rhythm section is outstanding- just listen to that fuzz bass and octopoidal drums!) but really the whole album is a pinnacle of artistic achievement. The fifth and final piece is ‘Jazz.Prog.Mambo’ and is inspired by Chick Corea’s eclectic jazz fusion approach to “provide an auditory break from the more complex music with a high spirit, happy and light-hearted.” Anyone listening to this album cannot fail to be both impressed and energised by it; absolutely stunning.