Companyia Elèctrica Dharma -

Companyia Elèctrica Dharma was a Spanish jazz-rock band that released eleven studio albums and two live discs between 1975 and 1991, mostly on Edigsa and PDI. They remained active into the 21st century.

Members: Pep Fortuny (drums, percussion, vocals), Joan Fortuny (soprano saxophone, vocals), Carles Vidal (bass, guitar), Jordi Soley (keyboards, 1974-78), Esteve Fortuny (guitar, 1974-86), Lluís Fortuny (keyboards, accordion, trumpet, vocals, 1978-?), Maria Fortuny (piano, keyboards, vocals, 1987-?)

Inception

Companyia Elèctrica Dharma (Dharma Electric Company) hailed from Barcelona, where the three Fortuny brothers — guitarist Esteve, drummer Josep, and soprano saxophonist Joan — assembled the band in 1974 with bassist Carles Vidal and keyboardist Jordi Soley. They linked with Zeleste, a progressive subsidiary of Edigsa.

Diumenge

Companyia Elèctrica Dharma released their debut album, Diumenge, in April 1975 on Edigsa.

The album centers on extended instrumental pieces that move between steady, percussion-led patterns, contoured guitar themes, and alternating soprano-sax and electric-piano lines. Short interludes break the longer pieces, creating a sequence of abrupt shifts between sustained sections and compact motifs.

The band functions as a fixed sextet with drummer–percussionist Josep Fortuny, bassist Carles Vidal, guitarist Esteve Fortuny, keyboardist Jordi Soley (Fender electric piano, acoustic piano, Moog synthesizer), and soprano-saxophonist Joan Fortuny shaping the arrangements. They group-wrote all nine pieces.

Diumenge opens with “Fesomies Urbanes,” where cymbals, horns, and electric piano lead into intricate drum patterns and interweaving solos, establishing an energetic and precise foundation. “Lila” and its reprise “Lalila” provide contrast with delicate acoustic guitar framed by soprano sax and electric piano, offering airy, reflective passages. “Capità Trueno” unfolds over ten minutes with shifting tempos and extended guitar, sax, and Rhodes solos, supported by a dynamic rhythm section that alternates between tightly locked passages and more spacious, exploratory moments.

“Eufòria” accelerates with buoyant electric piano and guitar lines, while the two-part “L’harmoniosa Simfonia d’un Cos” transitions from ethereal, suspended textures to mid-tempo, city-driving propulsion, highlighting synchronized soloing over layered harmonic beds. “El Bailaor Còsmic” develops from a slow, spacious introduction into a vigorous, Latin-tinged interplay of bass, drums, guitar, and Fender Rhodes, and the brief closer, “Tema Dels Carrers Radioactius,” delivers a concise, high-energy finale. Across the album, the band balances precise rhythmic foundations with expansive soloing and shifting textures, creating a varied, instrumentally rich experience.

A1. “Fesomies Urbanes” [Urban Faces] (5:26)
A2. “Lila” (4:17)
A3. “Capità Trueno” [Captain Thunder] (10:16)
A4. “Lalila” (1:16)

B1. “Eufòria” (4:24)
B2. “L’Harmoniosa Simfonia d’un Cos. Part 1” [The Harmonious Symphony of a Body] (4:17)
B3. “L’Harmoniosa Simfonia d’un Cos. Part 2” (3:39)
B4. “El ‘Bailaor’ Còsmic” [The Cosmic Dancer] (4:22)
B5. “Tema dels Carrers Radioactius” [Theme of the Radioactive Streets] (1:50)

Sessions occurred on February 4–5, 1975, at Estudis Gema-2 in Barcelona with Companyia Elèctrica Dharma arranging and Salvador Pueyo and Ricard Casals engineering and mixing on February 6.

L’Oucomballa

Companyia Elèctrica Dharma released their second album, L’Oucomballa, in February 1976 on Zeleste.

The album expands their electric–acoustic framework with longer instrumental arcs, abrupt shifts between percussion-led passages and clarion reed themes, and sustained electric-piano figures that contrast with tenora and accordion breaks. Two suites divide the program, each moving through measured pace changes, terse interludes, and extended ensemble passages.

The core sextet—drummer Josep Fortuny, bassist Carles Vidal, guitarist Esteve Fortuny, keyboardist Jordi Soley (Rhodes electric piano, Hammond organ), and reedist Joan Fortuny (soprano saxophone, tenora)—wrote seven pieces and arranged the album. They also adapt the Vilanova traditional “Titu-Tiru-Ritu (Dansa Popular de Vilanova).”

L’Oucomballa opens with “Adeu, Estrella Del Dia,” a brief, melancholic lullaby that sets a reflective tone before the music expands into more dynamic territory. “Mitjanit” pairs acoustic guitar with soprano sax, moving through shifting intensities within its short runtime. The longer pieces, such as Ball LlunaTic-Toc, layer soprano sax, Fender Rhodes, and subtle guitar rhythms over tightly executed, shifting tempos, creating bright, celebratory passages with Mediterranean inflections.

“Mater Maritima” emphasizes guitar solos over steady, nuanced drumming, while the closing “Titu-Tiru-Ritu” presents a concise, folkloric motif that foreshadows the band’s later, electrified reinterpretations. Throughout, the ensemble balances expansive, improvisational passages with compact, rhythmically precise compositions, blending jazz-inspired interludes with textures drawn from Catalan tradition.

A1. “Adéu, Estrella del Dia” [Farewell, Star of the Day] (1:40)
A2. “Ones Nones” [Ninth Waves] (10:30)
A3. “Mitjanit” [Midnight] (2:25)
A4. “Ball Llunàtic–Toc” [Lunatic Dance–Touch] (5:25)

B1. “Mater Marítima” [Maritime Mother] (7:08)
B2. “Els Pardals de la Rambla” [The Sparrows of the Rambla] (3:51)
B3. “L’Oucomballa” (9:10)
B4. “Titu-Tiru-Ritu (Dansa Popular de Vilanova)” (1:30) — originated as a Vilanova folk dance.

Sessions occurred in January 1976 at Estudis Gema-2 in Barcelona with Companyia Elèctrica Dharma and Rafael Moll producing and Joan Vidal engineering.

Tramuntana

Companyia Elèctrica Dharma released their third album, Tramuntana, in May 1977 on Edigsa.

The album sharpens their long-form interplay with alternating tenor–soprano themes, electric-piano ostinatos, and sudden accelerations driven by layered percussion. Brass and xylophone accents widen the ensemble’s color range as the material shifts between terse marches, extended mid-tempo developments, and brief choral statements.

The quintet—drummer Josep Fortuny, bassist–xylophonist Carles Vidal, guitarist–tenor saxophonist Esteve Fortuny, keyboardist Jordi Soley (electric piano, acoustic piano, organ), and reedist Joan Fortuny (soprano saxophone, tenora)—wrote six pieces and arranged the program. They also adapt the traditional “Titu-Tiru-Ritu (Marxa).” Trumpeter Lluis Fortuny appears on two tracks.

Tramuntana opens with “Titu-Tiru-Ritu (Marxa),” a brisk, celebratory passage where drums, guitar, and bass set a driving pace before soprano sax enters. “Focs de Sant Joan” builds from soft, folk-inflected motifs into extroverted passages, with guitar and soprano sax weaving playful counterpoints over dynamic rhythms. “Moixeranga del Diable” stretches over ten minutes, beginning with a languid, eerie mood reinforced by trumpet, before the rhythm section establishes a pliant, shifting cadence beneath dueling sax and guitar lines. “La Mediterrània Se’ns Mor…” softens the texture with acoustic guitar, subtle organ layers, and gentle xylophone, creating a serene, chiaroscuro atmosphere.

The title track features extended interplay between soprano sax and guitar, underpinned by electric piano and a flexible, responsive rhythm section, punctuated by calm interludes. “Les Bruixes del Maresme” begins with a layered wind crescendo before settling into a concise jam, and the closer “Festejada (De Timbals)” emphasizes playful energy, featuring percussive accents and a nod to Catalan dance rhythms.

A1. “Titu-Tiru-Ritu (Marxa)” [Traditional March] (1:20)
A2. “Focs de Sant Joan” [Bonfires of Saint John] (5:24)
A3. “Moixeranga del Diable” [The Devil’s Moixeranga] (10:03)
A4. “La Mediterrània se’ns mor…” [The Mediterranean Is Dying on Us…] (4:51)

B1. “Tramuntana” (10:48)
B2. “Les Bruixes del Maresme” [The Witches of Maresme] (3:25)
B3. “Festejada (de timbals)” [Festivity (of Drums)] (6:16)

Sessions occurred in winter 1976 at Gema-1 Studios in Barcelona with Companyia Elèctrica Dharma and Rafael Moll producing and Jordi Vidal engineering.

L’àngel de la Dansa

Companyia Elèctrica Dharma released their fourth album, L’àngel de la Dansa, in May 1978 on Edigsa.

The band shape a tight, percussive set driven by saxophone leads, sharp rhythmic shifts, and brief ensemble passages that pivot between chant-like themes and brisk instrumental runs. Their core lineup centers on Joan Fortuny (soprano saxophone, violin), Esteve Fortuny (tenor saxophone, trumpet, guitar), Josep Fortuny (drums, voice, small percussion), Carles Vidal (bass), and Jordi Soley (keyboards, percussion).

Esteve and Joan serve as the primary writers across the album’s twelve pieces. Jordi co-writes select tracks, and Josep contributes to “Barna Natal, Barna Mortal” and “Sants Impotents!” They also adapt two traditional tunes (“Parida Saltimbanki” and “Dansa Il-Legal”), arranged collectively by Dharma.

A1. “Batalladora” [Fighter] (3:30)
A2. “Ball del Follet Foll de Lluna” [Dance of the Crazy Moon Elf] (4:16)
A3. “Marxaràbiga” (2:46)
A4. “Dalt les Onades” [Above the Waves] (3:47)
A5. “Alegres Desesperats” [Joyful Desperates] (4:32)

B1. “Parida Saltimbanki” [Acrobatic Birth] (2:49)
B2. “Barna Natal, Barna Mortal” [Barcelona Birth, Barcelona Death] (1:56)
B3. “Sants Impotents!” [Impotent Saints!] (3:37)
B4. “Cançó de Bressol (Bruta i Trista)” [Lullaby (Dirty and Sad)] (1:48)
B5. “L’Àngel de la Dansa” [The Angel of Dance] (7:16)
B6. “Dansa Il-Legal” [Illegal Dance] (1:11)

Sessions occurred at Gema-1 Studio in Barcelona with producer Rafael Moll and engineers Jordi Vidal and Toni Valls.

The sleeve features photography by Colita.

Discography:

Diumenge (1975)
L’Oucomballa (1976)
Tramuntana (1977)
L’àngel de la Dansa (1978)
Ordinàries Aventures (1979)
L’Atlàntida (1981)
Al Palau de la Música Catalana (live, 1982 • Companyia Elèctrica Dharma amb la Cobla Mediterrània)
Catalluna (1983)
Força Dharma! Deu anys de resistència (1985)
No Volem Ser (live, 1986)
Homenatge a Esteve Fortuny (1987)
Fibres del Cor (1989)
Tifa Head (1991)