As the core of The Samurai of Prog and innumerable offshoots, Marco Bernard (bass) and Kimmo Pörsti (drums) are responsible for an incredible amount of music. Much of the music has been unavailable as the years pass, hence the Omnibus series which brings together several of the older albums complete with bonus tracks. Omnibus 4: The Bernard & Pörsti Sessions collects three albums from 2020 and 2021, a time when third core member Steve Unruh was largely unavailable. As a result, the albums here were released under the Bernard and Pörsti banner, although even then it was difficult to avoid the TSoP label.
The TSoP stable of musicians and songwriters has remained consistent over the years. As a result, there is a remarkable stability from one project to the next. Regardless of who the main songwriters are, the sound is instantly identifiable as belonging to this unique band. You might think that with Bernard and Pörsti at the top of the bill, the rhythm section would feature prominently on these tracks. However, these gentlemen respect their collaborators and the music too much to fall into any such trap. What you end up with is endlessly satisfying and sophisticated progressive rock performed by top notch musicians and their high profile guests.
Originally released in 2020, Gulliver is based on Jonathan Swift’s satirical 1726 novel and is the first album in this reissue series. Overture XI begins the proceedings with delicate harpsichord before yielding to rocking guitars and busy drums. Bass and guitar eventually take the spotlight with memorable melodies, but when Marek Arnold’s sax doubles the guitar lines, the effect is sublime. The eighteen minute Lilliput Suite picks up the pace and uses expressive music and vocals to tell the story. The moods vary from neo-classical to symphonic bombast, abetted by the use of horns, woodwinds and violin. Any one of these musicians or vocalists can be singled out for their stellar contributions, but guitarist/multi-instrumentalist Rafael Pacha inevitably draws my attention, whether soloing or adding background colour. The cascading keyboard figures of The Giants set the mood, but it’s the ascending piano and sax lines at the end that make the song so majestic. Land Of The Fools is fourteen plus minutes of ethereal instrumental sections interspersed with hook-laden vocals. Funky and jazzy and proggy at turns, Bernard and Pörsti guarantee that this is truly the sound of a band despite the use of different musicians on each track. Gulliver’s Fourth Travel uses both Italian vocals (courtesy of Stefano Galifi) and English (thanks to absent core member Steve Unruh making an appearance) to create a conversation in contrasts. Original album closer Finale is pure symphonic grandeur and triumphalism. Keyboardist Alessandro Di Benedetti contributes the bonus track, Ordinary Man, which features a gorgeous yet oddly structured piano solo. Vocalist Michael Trew (Moon Letters) brings another dimension to the song, harmonized by Lauren Trew. Guest fretless bassist Jan-Olaf Strandberg contributes a wonderfully melodic, sinewy solo and sax man Risto Salmi brings a markedly different, but no less magnificent, tone from Marek Arnold…
La Tierra, which occupies the second disc, is unique in the TSoP canon. Released six months after Gulliver, all the vocals are sung in Spanish (mainly by Ariane Valdivie) and many of the musicians are Spanish. Vuelo Segrado maintains a buoyant energy throughout. The vocals are central, but the orchestral arrangement and soloists are given plenty of space to breathe. Alessandro Di Benedetti is a master of moods and he cycles through several on the eleven minute El Error. Voz De Estrella Que Muere benefits greatly from the use of Marc Papeghin’s French horn and trumpet, leading to a stately finale over which the guitar of Ruben Alvarez soars. Emotional vocals and Emersonian organ are the hallmark of Ansia De Sonar. The music is more aggressive than most, but balanced by lush harmony vocals and John Hackett’s flute. David Myers offers a solo grand piano piece in the form of Cancion Desde La Caravana. The thirty minute title track, La Tierra, opens with soothing piano before Bernard and Pörsti kick things wide open for synths and guitar. The layered vocals demand attention, and the crystal clear production allows every instrumental nuance to be heard. The ascending organ parts underpinned by acoustic and classical guitar are particularly effective, especially when joined by Arnold’s sax. Plenty of musical left turns keep the listener engaged, making sure the length is justified. The album ends on bonus track Fuego, another vocal tune which wisely emphasizes the Spanish guitar among Pacha’s six string arsenal.
Robinson Crusoe from 2021 is very much of a piece with Gulliver. The musicians and songwriters overlap between the two albums, which is not a bad thing. It’s just that this third disc does not feel as if it has its own identity. The Overture is beautifully symphonic and makes the most of the combination of orchestral and rock instrumentation. Like An Endless Sea features a John Wilkinson vocal which, fine as it is, feels unrelated to the rest of the track. The Voyage Begins is another Myers solo piano piece, while The Island Of Despair is a vocal-oriented piece to start, sliding into gentle piano, and setting the stage for Steve Hackett’s typically stunning solo. Friday mines The Knife-era Genesis for a more rocking than usual tune full of drama and emotion. The switch to Italian language vocals is a bit startling at first, but the song holds up as it rocks and swings. The original album ends with New Life, an episodic tune alternately demanding and soothing, rocking and symphonic. Three bonus tracks are appended to the album. Winter Day is a vocal-oriented track featuring the voice of Daniel Fäldt. His harsher voice is actually a nice contrast to the piano-based Nursery Cryme-like music. The jazzy guitar of Pacha, Unruh’s violin, and Salmi’s sax push each other to thrill and satisfy on Lost Soul. Three Castles On The Highlands is the final epic, of which only two parts are presented. In the first, Pacha’s psaltery lends a medieval flair. Flute, acoustic guitar and chiming percussion bring a light, airy feel. In contrast, the second half is heavily percussive on the bottom end with woodwinds floating over the top, making it one of the more unusual tracks in the canon.
These Bernard and Pörsti albums escaped me the first time around. As a fan of the TSoP universe, I was happy to have an opportunity to fill in the gaps. What I really appreciate is that the bonus tracks appended to the original releases are not throwaways or demos or songs justifiably left off. Each one is just as spectacular in its own right. The liner notes give no indication of whether these songs were recorded contemporaneously or at a later date but honestly, it hardly matters as they all fit beautifully onto their respective albums. If you are a fan of romantic, symphonic, quality prog, don’t miss out a second time. Omnibus 4 is worth your time and money. And, as usual, the packaging and Ed Unitsky’s artwork are of the same superior quality. Set aside an afternoon and fall under the spell of Bernard and Pörsti.
TRACK LISTING
Disc One: Gulliver
01. Overture XI (07:42)
02. Lilliput Suite (17:53)
03. The Giants (08:42)
04. The Land Of The Fools (14:30)
05. Gulliver’s Fourth Travel (10:17)
06. Finale (03:11)
~ Bonus track
07. Ordinary Man (12:00)
Time – 74:15
Disc Two: La Tierra
01. Vuelo Sagrado (08:57)
02. El Error (11:11)
03. Vox De Estrella Que Muere (05:34)
04. Ansia Be Sonar (10:23)
05. Cancion Desde La Caravana (03:30)
06. La Tierra (30:12)
~ Bonus track
07. Fuego (05:18)
Time – 75:05
Disc Three: Robinson Crusoe
01. Overture (06:18)
02. Like An Endless Sea (09:38)
03. The Voyage Begins (03:08)
04. The Island Of Despair (10:00)
05. Friday (10:08)
06. New Life (05:16)
~ Bonus tracks
07. Winter Day (04:49)
08. Lost Soul (05:54)
09. Three Castles On The Highlands (10:15)
Time – 72:49
Total Time – 222:09
MUSICIANS
Marco Bernard – Shuker & Rickenbacker Basses
Kimmo Pörsti – Drums & Percussion
~ With:
Tsuboy Akihisa – Violin
Ruben Alvarez – Electric & Acoustic Guitars
Marcella Arganese – Guitar
Marek Arnold – Sax
Mario Bianchi – Keyboards
Steve Bingham – Violin
Carmine Capasso – Acoustic & Electric Guitars
Mario De Siena – Keyboards
Alessandro Di Benedetti – Keyboards, Backing Vocals
Adam Diderrich – Violin
Marcelo Ezcurra – Vocals
Daniel Fäldt – Vocals
Mimmo Ferri – Keyboards
Stefano Galifi – Vocals
Rodrigo Godoy – Guitars, Backing Vocals
Marco Grieco – Keyboards, Acoustic Guitars, Percussion
John Hackett – Flutes
Steve Hackett – Electric Guitar
Olli Jaakkola – Flute, Piccolo
Roberto Kriscak – Keyboards
Oliviero Lacagnina – Keyboards
Alessandro Lamuraglia – Keyboards
Giovanni Mazzotti – Flute
Jose Manuel Medina – Orchestral Arrangements
David Myers – Grand Piano
Rafael Pacha – Acoustic, Electric & Classical Guitars, Recorders, Whistles, Viola da Gamba, Psaltery, Bodhran
Marc Papeghin – French Horn, Trumpet
Andrea Pavoni – Keyboards
Kari Riihimäki – Guitars
Daniela Rizzo – Flute
Jaimie Rosas – Keyboards
Risto Salmi – Sax
Eduardo G. Saluena – Piano, Organ, Mellotron, Synths
Jaime Scalpello – Vocals
Luca Scherani – Keyboards
Bart Schwertmann – Vocals
Marcel Singor – Guitar
Massimo Spossaro – Guitars
Octavio Stampalia – Keyboards
Federico Tetti – Guitars
Sara Traficante – Flute
Steve Unruh – Violin, Vocals
Ariane Valdivie – Vocals
Marco Vincini – Vocals
John Wilkinson – Vocals
ADDITIONAL INFO
Record Label: Seacrest Oy
Country of Origin: Finland/International
Date of Release: 16th May 2025
