Ferrigno, Leal, Kuprij - Promised Land
"Promised Land" is a project of three musicians: two Mexican guitarists and a Ukrainian keyboard virtuoso (well-known for progmetal act Artension). Marco Ferrigno was a student of Paul Hanson and George Bellas. He has a debut CD - "The Quest" (2001) on his account. Javier Leal spent his childhood in England. As you can easily guess, he came back homeland, met Marco and played keyboard on "The Quest". The rest two musicians are more popular - Philip Bynoe (Steve Vai, Ring Of Fire) and Jon Doman (Greg Howe, Richie Kotzen).
For the fans of aforementioned musicians, "Promised Land" is another pearl. For the rest, the trio's music can be more difficult in reception. Luckily, there no one chord was composed at sixes and sevens, in other words, any redundant elements won't be heard. Each instrumentalist has his part to play, each one "bores" his own rock and doesn't disturb one another. Every "puzzle" is well-arranged, and the smallest details matched with themselves. Tones' "exchanges" between Marco and Javier are similar to Tom Hess' and Mike Walsh' playing, even though their styles are different. Upon listening to Ferrigno's parts, it's hard not to think of George Bellas' and Theodore Ziras' music, to say nothing of the fact that his style is similar to traditional kind of shredding metal. Some similarities to the first Jason Becker's solo release aren't accidental as well, because Paul Hanson based his classes on American virtuoso's techniques. Ferrigno surely plays faster and more impetuous than Leal, but we owe jazz-ish improvisations to the ladder. Well, Jon Doman brings also "jazz breath" to the project's music.
As far as Mr. Kuprij is concerned, he took his seat in the "middle" of two Mexicans. He doesn't "rage" as he used to do on solo CDs (but doesn't stand still, haha), and set his tempo between Ferrigno's and Leal's parts. "Promised Land" includes the music comparable to Artension's and Kuprij's. I am convinced that trinity's music will be took a liking by the fans of progression, shredding metal and jazz-esque "inclinations". Recently, Anna Debowska (a journalist from one of the biggest Polish newspaper), reporting 5-hour performance by one of Kuprij's teacher from Austria - Rudolf Buchbinder in the National Concert Hall (Warsaw), called him a "satan of the key". I am very curious, how she'd characterize Vitalij's profile, haha?