lunes, 20 de septiembre de 2010

V.A - Alternativa vol.2 (1974)




alguien mas en quien confiar - el reloj
rock de matias - la banda del paraiso
doña laura - manal
vamos mano en mano - alma y vida
fermin - almendra
viento dile a la lluvia - los gatos
mendigo del dock sud - moris
memento mori - litto nebbia
muchacha (ojos de papel) - almendra
no hay tiempo de mas - manal
tantas cosas - quistral

Segundo volumen de esta serie, esta vez con artistas del sello RCA.

Cortesia de Fede

1 comentario:

Anónimo dijo...

By releasing the song ‘Tantas cosas’, the acoustic duo
‘Gabriel & Marcelo’ planned closing their contribution
to the folk genre. Sympathetically with most of male
duos of that period, songwriter Gabriel Ogando desired
as well a new texture for his compositions, a departure
from the simplicity of folk closed harmonic structures
into the limitless of the classical orchestra melodic palette.
Named after a bird supposedly from the Argentinean
south, ‘Quistral’ meant to be ‘Gabriel & Marcelo’ next
evolutionary musical stage.

In 1974, Gabriel Ogando crystallized this new project, by
meeting keyboardist Guillermo Medin who at that time
was playing with Tito Losavio in ‘Burbujas’, a Tropical/
Dance group under the leadership of percussionist guru
Guido ’Chiche’ Abregu. ‘Quistral’ rehearsals started shortly
afterwards in Guillermo Medin’s studio in Lomas de Zamora,
South Buenos Aires.

All songs were re-arranged, re-harmonized and orchestra-
ted accordingly to Gabriel Ogando`s plan and in 1975 trio
‘Quistral’ presented this new shaped-up material in IFT
Theatre, in the off ‘Once’ neighborhood. This unique un-
plugged concert featured Gabriel Ogando/Marcelo Braga in
acoustic guitars/vocals and Guillermo Medin in acoustic
piano and represents the solely ‘Quistral’ formation ever
known to the public.

Due to some kind of disagreement between the two vocalist,
(not into commenting about soap-opera subjects) the trio
‘Quistral’ splitted-up. Desillusionized Gabriel Ogando just
recovered from it years afterwards and joined Marilina Ross,
Marcelo Braga opted instead for a career in music teaching
and Guillermo Medin ended up in the house of Alejandro De
Michele of ‘Pastoral’ in Liniers, West Buenos Aires, studying
Gustavo Beytelmann’s orchestral score for ‘Humanos’.
Alejandro De Michele foreseeing director Beytelmann was
leaving the country in 1976, he convoked keyboardist Guillermo
Medin for implementing same textures for live shows scenarios.

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