Gabriel Mas – Hav3 A Good Trip
This is a difficult call. I was a big aficionado of progressive rock 100 years ago. This unit rises from the ashes of Chicago’s Gabriel Bondage from the ’70s. There are still bits & pieces of ideas scattered around this new effort, an evolution – with sonic special effects, a Laurie Anderson-type narrative voice, jazz-fusion interludes, spacious lead vocals with a Beat poetry lyrical bite interspersed with sitar sounds & good percussion. All tossed into an instrumental cauldron of “Cave of the Tenderthals” captured with good recording quality. The instruments are heavy & display their “progressive” intricacies. But the word “progressive” today is a little loose.
This isn’t King Crimson, Mahavishnu Orchestra, Van der Graaf Generator, Amon Duul, McDonald & Giles, Planet P, Yes or ELP. It has tendrils in a more avant-garde cum jazz fusion proclivity. Closer to Carla Bley, Paul Winter, Banco, Passport & sometimes early Weather Report. The compositions are indeed ambitious, but far more spacey than progressive rock. The vocals aren’t commanding like Greg Lake, Dave Cousins, Peter Hammill or even Gary Brooker.
11 pieces make up the evolution of Hav3 A Good Trip (Drops July 3/Deep Dog Records/58:38), produced, arranged & performed by Chicago’s Gabriel Mas. Musically, “Self” is a well-performed number. Progressive rock was never an easy genre. You either had to dazzle with vocals or musically embellish with intensity. Some tunes have good ideas but don’t always connect with formidable work. It borders on a word I hate – pretentious. Not because of any bombastic performances, it’s not clear what’s being talked about. It sounds like it’s mostly fantasy or phantasmagoria. (“The Causeless Seed”). No idea.
The musicians always play well. The themes & topics are heavy. Tracks are long & attempt to capture a Vangelis form (“Albedo 0.39”) but never quite do. “No Solid Ground” is the best tune, but the synth notes would have been better served by the excellent drums with a sax. The conclusion is cool like Dead Can Dance. It’s not pompous; the playing is too good for that, but the intensity isn’t high-octane. It meanders. It doesn’t have the musical color of Triumvirate (“Illusions On a Double Dimple”). But “Perfect Weather” comes closer.
This arrangement is tight & well-conceived, not inventive; the backup vocals are, however, cheesy for progressive rock. Ask yourself, would Robert Fripp do this? Attempts at Vangeli-sizing do come closer with “Mara” – not bad. Exceptional drums; the drama is laid on a bit thick, but they do lay down a good groove & this should’ve been the opening song to the album. The musicians assert themselves well. It just needs a better concept, in my opinion.
Highlights – “Self,” “No Solid Ground,” “Perfect Weather,” “Mara,” “Common Ground,” & “Rain (Cold Tears).”
Musicians – Rex Bundy (lead vocals/drums/guitar/piano), Ron Schwartz (piano/organ/synth), Larry Biernacki (vocals/guitar), Bill Wisniewski (vocals/sax/clarinet) & Tony Stram (vocals/bass).
CD @ https://gabrielmasmusic.com/
Song Premiere: https://americanahighways.org/2026/06/15/song-premiere-gabriel-mas-tivoy-the-immense-vastness-of-yesterday/