01	Tarantos Del Califato Independiente						20:29
	02	Darshan						08:36
	03	Cerro Alegre						07:41
	04	Cancion De La Oruga						05:36
	05	La Marcha De Los Enanitos						10:38
	06	Maluquinha						06:31
	07	Camino Del Aguila						14:00
	08	Ninos						03:07

Iman

From:
Sevilla

Musicians:
Inaki Egana (bass and vocals) (by Urbano Morales),
Kiko Guerrero (drums),
Marcos Mantero (keys),
and Manuel Rodriguez (guitar).

Discography:

Iman, Califato Independiente (1978)
Camino del Aguila (1980)


Opinions:


Great Spanish Progressive act with two albums out. So far, the only one I've located is "El camino del Aguila" which has both Progressive and Fusion elements, erm, fused together, but their first is available on CD. Overall, I'm reminded of Iceberg (another excellent Spanish Prog band) or a slightly more Progressive version of Return to Forever. This isn't quite satisfactory though because the band ranges from fiery fusion rampages to spacious synthesizer sections. The rhythm section is solid and is an active part of the group rather than just laying down a groove for the rest of the band to solo over. The band rarely lingers on any particular style for more than a few minutes, moving adeptly across many key and time changes. The album consists of three longer songs, and a brief ending tune. The basic instrumentation is drums, bass, electric guitar and synth. However, the last song contains acoustic guitar, some flute and the only vocals heard on the album. If you like fusion-inflected progressive (or is that progressive-inflected fusion) then I'd highly recommend this band to you. (?)

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Iman Califato Independiente [Spain]

Iman Califato Independiente (78), Camino Del Aguila (80)

Iman's second album falls somewhere between the Arabesque symphonic Prog of Mezquita and the Return to Forever-styled fusion of Iceberg, two other bands from Spain. Iman are a four-piece of Kiko Guerrero (drums and percussion), Urbano Moraes (bass, percussion, backing vocals), Manuel Rodriguez (guitar, vocals) and Marcos Mantero (synths). The album opens with the 10 minute "La Marcha de los Enanitos," an excellent symphonic piece with many Arabian overtones. Velvet-smooth keyboards alternate with electric guitar in solo space. Beneath them is a solid rhythm section. Drummer Guerrero knows that the snare drum is for more than the 2nd and 4th beat. While he doesn't riff as much as, say, Furio Chirico (of Arti E Mestieri), Guerrero certainly likes to take an active role in the music. The star of the show, I think, is Moraes. His bass work is essential to the melody, playing tasteful and memorable melodies while the guitar and keyboards duel overhead. He uses the entire fretboard throughout, and functions as a lead melody intrument, even while keeping rhythm. Like Mezquita, Iman draw from Arabian music and it is noticed here and in the 14 minute title track. The second song is "Maluquinha," a seven minute fusion piece akin to Al Di Meola circa Elegant Gypsy. Guitarist Rodriguez shows a strong Di Meola influence on his solo, alternating sustained notes with swift note runs. He's not as fast as Di Meola but he is more melodic. Comparisons could also be made to Carlos Santana. Congas are used to enhance the Latin feel. "Camino del Aquila" carries on similar to the opening track though there are more melodically diverse passages, including a brief, Steve Howe-like guitar passage in the middle. Also, this track is much jazzier than "La Marcha de los Enanitos," but with a dash of flamenco. The closer is the only vocal track, a ballad of Spanish guitar against a synth backdrop. The only real drawback to this release is it totals less than 35 minutes of playing time. I have no problems recommending it to everyone into Spanish, Italian and South and Central American symphonic prog. -- Mike Taylor


Reviews:


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Sjef Oellers 18-March-2001 Camino del Aguila

Camino del Aquila is rather lightweight fusiony prog. There are some inspired moments that remind of Mezquita, but those parts are far too short. The guitar playing reminds mostly of Al di Meola and Carlos Santana, while the keyboard playing is probably closest to Mezquita and Crack. Especially on the compositional side, I found this album rather thin and there are several parts where the arrangements are downright cheesy.

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Mike McLatchey 13-April-2001 Camino del Aguila

Iman Califato Independiente - Camino del Aguila (Musea FGBG 4109.AR, 1980/1994, CD)
Here's another gem in the hidden treasure trove of Spanish progressive rock. Musea did well to release this as it should appeal to just about anyone who has found enjoyment in groups like Triana, Granada, Ibio, Iceberg, Guadalquivir, Bloque or Cai. Iman straddle both the symphonic and jazzy sides with ease, resulting in a much different album than the barely diluted symphonic rock sound of their debut. There are four cuts (two long and two short of varied styles), from the dodgy borderline muzak beginning of the long opening track (reminds me of a theme to a cheesy 70's cop show) that somehow mutates into a dark Spanish/Crimson like jam and back again; through an incredibly fiery Latin tinged instrumental that would have fit neatly on Santana's Caravanserai album; to a moody acoustic piece (and the only one with vocals) similar to the more melancholic moments of Pablo "El Enterrador". While I'd be hard-pressed to label this a classic, if you are into european jazz or prog rock in the French/Italian/Spanish vein I would definitely say this is worth checking out, there are some really nice highs on this one.

(Originally published in Exposй #4, p. 23, Edited for Gnosis 4/8/01)

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Iman: 'Califato Independiente'; Spain, 1978; ***?/T

Tarantos del Califato Independiente
Darshan
Cerro Alegre
Cancion de la Oruga


Iman were one of the all-too many 'one-shot' progressive bands from the '70s; Spain in this case. Like many Spanish bands from this era, Iman have a slightly jazzy touch and also bring in a flamenco influence; the album is instrumental, and a good example of its genre. Unless my ears deceive me, the Mellotron use is restricted to a quick burst of choir in the second track (the first occupies the whole of the first side), although I'm willing to be proved wrong. All the strings appear to come from a generic string synth; possibly an Elka, although it's hard to tell.

Buy? Yes for the music, no for the Mellotron.