Michael Moss and Four Rivers with Cross Current, 1978

 

The side long track called Ain Soph is just brilliant on this record, the remainder maybe not as much since it's basically free jazz. I note they made another record in 1980 which was a live one, then another one, age unknown. For those curious, the name comes from Jewish Kabbalah and refers to "God prior to His self-manifestation in the production of any spiritual Realm." (Wikipedia as always.)

Manfredo Fest, 2 albums

 

From discogs:

Manfredo Fest (May 13, 1936 - October 8, 1999) was a legally blind bossa nova and jazz pianist and keyboardist from Brazil. He was also a famous bandleader. He was born in Porto Alegre, Rio Grande do Sul, Brazil, and he died at 63 years old in Tampa Bay, Florida, USA. Spent many years in Minnesota. He was husband of the composer Lili Fest and father of the guitarist Phill Fest.

The 1976 album Dorian Dream is quite lovely from beginning to end with light fusion but interesting compositions altogether, minimal commercial pop pandering.

Check out the electric piano opening to Braziliana No. 1:

Discus 1st (1999) and Tot Licht (2003)

Information here.

Here's another remarkable recent progressive group that sounds very much like the old classics--except when it doesn't, which is in some tracks where either they are approaching a more commercial sound with lighter melodies and standard chord changes especially those with added vocals, or when they add the heavy metal electric guitar to get some of that modern guitar-heavy thrashy prog sound that others really enjoy. From track to track it might seem like they are going in too many directions at times.  Just as you'd expect from the Indonesian origin of this there is also plenty of the gamelan thrown in but it isn't excessive.

But mostly I wanted to post this due to the astonishing beauty and overwhelming capability of composition featured in the one track called Condissonance, which you can hear here:

The beginning reminds me so much of those classic progmasters just like the recent Nostradamus going back into the chamber music European tradition but notice the music evolves into many different moods as it progresses on, always changing and hardly ever repeating any ideas. The composer's name is Iwan Hasan, for what it's worth.

The second album carries on just like the first with a mix of commercial vocal tracks, some heavy electric guitar riffing, some chamber music compositions.  The great opener is called System Manipulation and really covers everything:

I really love the crazy weird-tempoed part that commences roughly at the one minute mark though I don't think the heavy metal guitars are anything but extraneous. I guess the flip side to that is this is one area where this music is quite dissimilar to the older material it's pulling from.

Jose Luis Fernandez Ledesma Q

 

He has made a lot of music and in fact is described on discogs as A big name in the Mexican RIO/avant-garde musical scene. His masterpiece though is the 2000 album with the long title Dicen Que Somos Dioses Y Nos Soñamos Hombres with its remarkable mix of hard guitar fusion and chamber composition in a seamless whole, for example, the second track called 90 Dias:

 

Back to Kadans with Sign of Blues, 1989

 

In this album there is less of the classical compositional element than the others and more return to the 'Birth of the Cool' tendencies of the late 50s, early 60s of American jazz.  The arrangements for what are I guess mostly standards, it's hard for me to tell as usual with the alphabet, are really original, however. A good example of this is Track B2: