The progressive and symphonic in the national scene,
is considerable if we analyze their history in a wide way and without prejudices; rich in
groups and diverse as for proposals, we will refer then to the period 1968 (it remits
approximately to the origin of the one called rock in Argentina) 1980 (considering
the first one generation at international level), and to the bands that published disks in
such a lapse.
One of the bands of the trilogy considered pioneer of the rock sung in Spanish, is also
the precursor of the first disk that it introduces us to the progressive one in Argentina,
Almendra (1969), with its it works premiere, from their fine vocal arrangements
that then would be characteristic of this band, going by the beautiful works harmonic in "Muchacha",
or "Plegaria Para Un Niño Dormido", until the worked and imposing
orchestration with camera arrangements in "Laura Va", they remit us
without doubts to the first fact in the matter
for these districts.
"La Biblia" (1971) of Vox Dei, including their
later one Ensamble Musical de Buenos Aires, orchestrated version of 1974; it works
conceptual of great relief, it is another important point in the route.
After a first work something raw and chaotic in "Aquelarre" (1974), this
band offered us three stupendous samples of the gender with "Candiles"
(1973), "Brumas" (1974) and "Siesta" (1975), being for
mainly "Brumas" a great work, pick without doubts in the production of
the group; with changing climates, I calm down in the game of guitars acoustic and voices
worked in "Silencio Marginal", expressive and strong in "Mirando
Adentro", besides the mini-suite "Brumas en la Bruma" with
orchestral arrangements.
Pescado Rabioso; it was a band that in their second disk "Pescado
2" (1973) it offers us touches of progressive something hard in "Iniciado
del Alba, Poseido del Alba", or "Madreselva"; play lyrical from
the startling church organ that moves us in "Corto" or in the acoustic
guitars and voices of "La Cereza del Zar"; and play symphonic with
the suite "Cristálída" (of 9 minutes of duration) composed by several
"conceptual modules", of intricate poetry and super populated in images,
recorded jointly with musicians of the it orchestrates symphonic of the Teatro Colón
directed by the same Cutaia, keyboardist of the band.
"Artaud" (1974); that although it was published as Pescado
Rabioso for reason contractual of the recording company, it was a virtual album
soloist of Luis A. Spinetta; town with acoustic guitars and climates calms, mellow
their fine and only poetry; everything in the mark of one it works homage to the
multifaceted French artist mentioned in its title.
Another group of net progressive court was Invisible, with
its three aIbums, "Invisible" (1974), in ways but strong and you dry off;
"Durazno Sangrando" (1974), an inspired conceptual work basically in "The
Secret of the Flower of Gold" of Carl Jung, replete work of lyricism,
poetry and big instrumental arrangements and vowels; concluding in "El Jardín de
los Presentes" (1975), work of sounds more urban. (Characteristic of Buenos
Aires)
We arrive then to the year 1975, where the influence of the
symphonic one international it impacts in the musicians of our country (and of all parts),
it is so they light big bands by the light of Yes and Genesis.
Espiritu and their work "Crisálida" (1975),
it is a worthy and eloquent it proves of it, first Argentinean symphonic grouping. "Libre
y Natural" (1976), I dial made up of a single suite of but of half hour it is
their second work, Then they would arrive "Espiritu" (1982) and "En
Movimiento" (1983).
More overturned to hard sides it was the legendary group El Reloj,
with their first work that "El Reloj" (1975) went toward the
hard-progressive one, on the other hand their second work exploring the hard-symphonic
one. "El Reloj Volumen 2" (1976), and later on "La Esencia es la
Misma" (1983).
Another excellent symphonic band (for many considered the best), it
produced two big disks, "Crucis" (1976), developing songs of worked
arrangements, with changes of rhythms; "Todo Tiempo es Posible", "Determinados
Espejos"; or you tighten and poetic rough situations - musical in "La
Triste Visión del Entierro Propio", their second production "Los
Delirios del Mariscal" (1977), fruit of bigger establishment and work of group,
with topics but long, as the homonym of 11 minutes, or "Abismo Terrenal"
(13min), album of cut but instrumental that the previous one, pick of creativity, We are
also in this temporary space, with one very particular grouping, the only one independent,
and whose formation was fluctuating, since they worked as cooperative, even with
associates (their fans) that pre-paid recordings of their disks, among other
particularities; they were denominated Músicos Independientes Argentinos (MIA),
that beyond curiosities they created big works. "Transparencias" (1976),
rich in arrangements instruments and voices, with the original "Imagen II"
that included the one "Preludio Numero 1" of Bach, mini suites as "El
Casamiento de Alicia" (in three parts) or "Transparencias" (of
20min).
"Mágicos Juegos del Tiempo" (1977), second work
that contained the corals of their extensive one work "Cantata Saturno"
besides to publish a book of texts with this, among other songs.
"Cornonstipicum" (1978), creative landmark, more in
the tonic of the first I dial, with the homonymous suite of 17minutes.
Finally it would arrive "Conciertos" (1978), a
triple disk, high in quality, live engraving in the Teatro Santa María, "very
influenced by Yes" as related later years Lito Vitale, keyboardist of the
group.
Always inside the fan of the symphonic one, another great expression
of the same one, also with two published disks it was "La Máquina de Hacer
Pájaros" (1976), with their suite "Ah, Te Vi Entre Las Luces"
(12 min.),
it remits us to arrangements quasi of camera, and big works
instrumentals.
"Películas" (1977), composed rather finely of songs
elaborated as "No Te Dejes Desanimar" (with strings), "Ruta
Perdedora" (acoustic bass, organs. etc.).
"Alas" (1976), of the group of equal name of Gustavo
Moretto, with its acquaintance fears "Aire", it was another slope
with tango roots. Their last album, published years after separate the group was "Pinta
Tu Aldea" (1983)
Concluding the kaleidoscope of the 75 mentions to "Homenaje"
(1977), I dial soloist of Gustavo Montesano, leader of Crucis, where they
mixed in their recording members of La Máquina (García, Fernández),
members of Crucis (Farrugia, Marrone, Kerpel), members of Alas
(Aznar) among other companies.
The year 76 it presents the disk premiere of the band Polifemo,
conduced for David Lebon (Pappo's Blues, Color Humano, Pescado
Rabioso, Seru Giran, etc) in guitars and Rinaldo Rafanelli (Former Sui
Generis, etc) in bass, "Polifemo" (1976), guided to the rock'n roll
more conventional, while its second dial "Polifemo 2" (1977) it offered a
style very original symphonic hard.
The year 1978 it affords us many good works, that of the group Bubu
"Anabelas" (1978), and the work of the group native of Tucuman, Redd
"Tristes Noticias del Imperio" (1978), of influences of the music of Spinetta
(Invisible) in their roots who then would publish "Cuentos del
Subsuelo" (1979). Year in the one that see the light the disk premiere of the
grouping Tantor, conformed starting from the breakup of Aquelarre by two former
members, guitarist Hector Starc and the drummer (also former Almendra) Rodolfo
García, next to other historical bear (former Pappo's Blues, Invisible,
etc) Machi Rufino, with the disk "Tantor" (1979) guided toward the
jazz progressive and instrumental rock, of great level, then they would already publish
their second and last disk with Torres (Lito Vitale, Socios del Desierto)
in bass and Babu Cerviño in keyboards, "Mágico y Natural"
(1982).
The last stage of our journey, on the periphery of the eighties,
gives us some more bands.
Of the interior of Argentina, county of Santa Fé the group Agnus
(been godfather by people of M.I.A.) with their disk "Pinturas y
Expresiones" (1980), the band Aucán and their disk "Brotes del
Alma" (1980).
"Serú Giran" (1978), premiere of the band of
identical name that us gives the suite "Eiti Leda" (of 7 min.), or the
topic Serú Girán (of 8 min.) with a letter that Latin combined with an invented
language, for which each sentence remitted to a picture in the internal envelope of the
vinyl disk, with orchestral treatment. "La Grasa de las Capitales"
(1979), with topics of symphonic court as "Los Sobrevivientes", with
having achieved orchestration. "Bicicleta" (1980), of urban progressive
sound as for example in the instrumental "Bicicleta", or "A los
Jóvenes de Ayer". Inside this last urban variety we also include "El
Valle Interior" (1980), I work final of Almendra, of varied arrangements
vowels for example in "Espejada" and elaborated duets of guitars with
Buenos Aires letters in "Las Cosas por Hacer" or "Buen día, día
de Sol".
To need to mention Pablo El Enterrador, with their homonymous
disk (1983) fruit of years of works in in interior of Argentina (Rosario's city)
with a melodic progressive disk with touches of the place.
Gustavo
Bolasini