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Thursday, 15 August 2019

Spinetta Jade ‎ "Alma De Diamante" 1980 Argentina Prog Jazz Rock Fusion debut album


Spinetta Jade ‎ "Alma De Diamante" 1980 Argentina Prog Jazz Rock Fusion debut album (feat Arco Iris,Raíces, Los Músicos Del Centro, Los Abuelos De La Nada, Invisible, La Pesada, Pescado Rabioso, Spinetta Y Los Socios Del Desierto,Pappo's Blues-members)...recommended...!

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After the disbandment of Invisible, lead singer and songwriter, L.A. Spinetta released a solo album in 1978 entitled A 18' Del Sol, one of his most acclaimed solo efforts evoking the future jazz fusion spirit of his later 80s band, Spinetta Jade. 

In 1980 the debut of Spinetta's jazziest group was finally released, called Alma de Diamante ("Diamond's Soul"), and damn, what a debut! Of course, it's not a real debut in the sense that it is the first time they compose and play in studio, Spinettta & Co. were already professionals by that time, so expect a very polished debut without the usual flaws of typical debuts. 

First, let's state what type of fusion this band delivered. It's a smooth and very melodic fusion, with floating and chilling keyboards, an entertaining and diverse (but not technical-kind) rhythm section, good emotional soloing from the guitar and synths (not dated!) and finally, soulful vocals that is the band's most unique feature. Comparisons? Well, it reminds me a bit of Holdsworth's 80s solo stuff, the melody department specifically. So no, it's not really a clone or a derivative fusion band that resembles either Return to Forever or Mahavishnu Orchestra or Weather Report. 

But what's so good of this fusion? Ah, the whole mixture of the previously stated elements. There are instrumentals, 'Amenaber' and 'Digital Ayatollah', which show the band in a more technical way, still very melodic. And then, there's the rest of tracks that have the lovely vocals of Luis Alberto, but they're not simple tunes either, still a lot going on from the band, powerful melodies, excellent solos, great instrumental parts, all in all making very pleasant and entertaining melodic fusion. 

In last place, I'll say why this is in my opinion the band's greatest album. Mainly because this is purely consistent in great material and there's simply no filler or unmemorable parts. But mind you, the remaining three albums of the band are all quite different and worth of listening (with the exception of the last album), Los Niños Que Escriben En El Cielo "plays" a lot with varied time signatures and Bajo Belgrano is a very soulful record with greater pop sensibilities that don't harm. 

5 stars: masterpiece of Spinetta Jade and of Argentinian music. Unique album in this country that I highly recommend if you want to hear what Argentina can offer musically alongside stuff by Invisible and Seru Giran. If you're a fan of the lighter, more melodic fusion, this is a must, however if you are more into the avant-side of fusion like the Mwandishi albums by Hancock and the like, well this album might not be such a necessary record for you to get....by The Quiet One ....~




The first record made by Spinetta Jade is one of the highlights of South American Jazz ? Fusion scene. To make a summary description of this album , it's a very accessible jazz rock record including passionate vocals by Spinetta. All members of the band are masters of their respective instrument , but they don't overplay or have many solo spots making the record very friendly for newcomers to the jazz ? fusion genre. 
The record is the most consistent of the Spinetta Jade releases including seven really strong tracks. Among those tracks you will find two instrumental tracks (Amenabar and Digital Ayatollah) and the other 5 tracks include stellar performances by all the band members and the most important factor of this album are the lovely vocals by the band leader Luis Alberto Spinetta. 

Instrumentally , this record has predominant bass and keyboard sounds but is far from being a keyboard driven album , the guitar is classy played by Spinetta on the whole record and the record it's very balanced. I strongly recommend this album to those who want to get either into jazz fusion since it's much more accessible than the records from the "Big Three" of the genre meaning Weather Report , Mahavishnu Orchestra and Return To Forever. 

This record is one of those hidden gems that can be found among the site and hope that this review will help you in raising your interest in South American prog and Jazz Fusion in general 

IMPORTANT: If you want to check an even stronger jazz fusion album by Spinetta get A 18' del Sol. At the time this record is not included on the site.....by crimson87 .....~



Spinetta Jade provided a haven for the classic jazz-rock sounds of the 1970s on this 1980 release. Whilst other fusion artists - including pioneers of the genre - struggled to adapt to 1980s production aesthetics and then-modern synthesisers, here Luis Spinetta and his comrades (particularly synthesiser and keyboard wizards Juan del Barrio and Diego Rapoport) do a brilliant job of producing an album which sounds fresh and clear and new and packed with novel synthesiser and keyboard textures on the one hand whilst still providing a fusion sound which will appeal to a broad range of fans of the genre, whether your cup of tea is the breezy textures of Weather Report, the volcanic tempestuousness of the Mahavishnu Orchestra, or the whimsy and unpredictability of Frank Zappa or the Canterbury scene......by Warthur ....~







I'm such a huge fan of the band band INVISIBLE that it was a no-brainer trying to track this one down, which wasn't easy by the way. The connection between these two bands from Argentina is singer, guitarist and composer Luis Alberto Spinetta. When the band INVISIBLE packed it in SPINETTA JADE ended up being Alberto's new project at the time. By the way I also have a solo album by Alberto called "A 18' Del Sol" which is really good. This is a Jazz/ Fusion album all the way with vocals on some tracks which are very well done. The drumming is impressive and I'd also mention the sound quality as being exceptional. 
"Amenabar" is very jazzy to start with drums, bass and piano standing out. Mini-Moog comes to the fore just before a minute in this somewhat funky opening track. Synths replace the Moog but they will continue to take turns. Great sound after 3 minutes as the guitar jumps in. An excellent start. "Alma De Dia Mante" has this orchestral intro before piano and drums take over, then vocals for the first time on the album. Some emotion to these Spanish vocals in this ballad-like track. "Con Ia Sombra De Tu Aliado(El Aliado)" is another vocal track and the bass and drums are so impressive here. Nice bass solo before 2 1/2 minutes. A piano/ bass/ drum section follows. So good. A top three tune for me. "Dale Gracias" is where they slow it down some with piano and drums leading the way to start as reserved vocals take over with piano. A beat returns and it does get fuller at times but overall this is ballad-like. 

"La Diosa Salvaje" is also a relaxed tune with synths and drums to start then vocals after a minute. Intricate guitar as well. Some beautiful piano melodies before 5 minutes. "Digital Ayatollah" is also a top three. Man the sounds are so punchy and precise as these intricate sounds come and go. So impressed. It seems to get fuller later on which blows me away as I try to listen to all those sounds. "Sombres En Los Alamos" is the closer and longest track at just over 8 minutes. This is another laid back tune and we get vocals as well. There's some emotion here as well as some outstanding playing. A change 4 minutes in as it turns more intense and there's more imagination as well. It settles back again as the vocals return. A top three track! 

This is such a melodic and lush album, a very solid 4 star album that comes close to a couple of my favourite INVISIBLE albums but not quite.....by Mellotron Storm ....~




Credits 

Bass – Beto Satragni 
Composed By, Guitar, Vocals, Art Direction – Luis Alberto Spinetta 
Crew [Equipment] – Juan Carlos Blardone, Juan Carlos Camacho, Juan Ignacio Lebek 
Drums, Percussion – Pomo* 
Keyboards [OBX-8], Synthesizer [Minimoog, Arp Oddysey] – Juan Del Barrio 
Keyboards [Rhodes. Yamaha] – Diego Rapoport 




Tracklist 

Amenabar 5:27 
Alma De Diamante 4:35 
Dale Gracias 5:16 
Con La Sombra De Tu Aliado (El Aliado) 4:23 
La Diosa Salvaje 6:18 
Digital Ayatollah 5:04 
Sombras En Los Álamos 8:06 

Los Gatos"Los Gatos" 1967 (Los 100 Mejores Albumes Del Rock Argentino Rolling Stone) Argentina Psych Pop Rock,Garage,Beat


Los Gatos"Los Gatos" 1967 (Los 100 Mejores Albumes Del Rock Argentino Rolling Stone) Argentina Psych Pop Rock,Garage,Beat  (Sacramento, Los Gatos Salvajes, Nito Mestre Y Los Desconocidos De Siempre,Billy Bond And The Jets, Color Humano, Huinca, La Máquina De Hacer Pájaros, Los Músicos Del Centro, Moro-Satragni, Riff, Septima Brigada, Serú Girán-members)

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This album is historical. It is the first album of one of the first Argentine rock bands that emerged in the sixties: Los Gatos. This band, led by Litto Nebbia, would release their self-titled debut album in 1967, the year in which psychedelia took over the world. But, as the third world country that we are, in Argentina everything comes a little late, and in this case the psychedelic influence reached the Cats with a certain delay, or rather without the fullness they were developing in the United States or Great Britain . 
In any case, in this band psychedelic intermittences are noticed, mostly because of the presence of the organ that partly remembers The Doors. However, the Cats on this album seem to have developed a pop style that was more common to listen to a couple of years ago, say 1965. The group's rock resembles the most primitive stage of the Yardbirds or the Kinks, or naive pop of the Beach Boys. 
If we consider this, and being a bit austere, the Cats will have been important as pioneers in the constitution of national rock, but they were not innovative. Moreover, his debut album is overrated by Argentine critics and disappoints if we have the audacity to compare it with others of the time. 
Anyway, this job is not bad. We can enjoy a glittering classic like “La Balsa,” according to Rolling Stone and MTV magazine, the best theme in the history of this country. I also like the blues ballad "Lo Olvidaras". And "Mother Listen to me" is an interesting acoustic song that seems to be referred to the Kinks (in spite of the fact that the lyrics are a bit cheesy). 
Taking out these three, the songs on the album are half-pop, some nice and others that unfortunately would only be fine if they were compositions by Palito Ortega. And his supposed second best song "Yesterday Just", has a good chorus but it's not the big deal. 
In spite of everything, as I said before, Los Gatos, although they were not brilliant, were fundamental for national rock. Charly Garcia himself said that "without Nebbia there would have been no Javier Martinez, Spinetta or himself."....~


Los Gatos 1970. De izq. a der. Pappo, Moro, Alfredo Toth, Litto Nebbia, Ciro Fogliatta

Melopea Discos celebrates 50 years of Argentine rock with the remastered editions of the complete discography of Los Gatos, after 25 years of absence in record stores. After spending 15 years out of the market, and to mark the half-century existence of these anthological records, the band members themselves have decided to publish the complete discography. Remastered by Los Gatos. 

Los Gatos is the first studio album by the Argentine band of the same name, released on November 11, 1967 by RCA Vik. After the release of the single "La Balsa/Ayer Nomás", released on July 3, 1967, which sold some 200,000 copies (the first major success of Argentine rock), the RCA company decided to capitalize on its success with the release of the first full-length namesake of Los Gatos, which would see the light of day at the end of that same year. The album included the two songs of the simple, plus ten others composed by Litto Nebbia, voice and leader of the group. The material was recorded in the Studies TNT of Buenos Aires, between April and October of 1967. In 2007, Rolling Stone of Argentina placed it in the 36th position of its list of the 100 best albums of Argentine rock.....~




The first album of Los Gatos, appeared in 1967, is released again after a quarter of a century, remastered and with the graphics restored. Big bang of rock in Spanish, influenced everything that happened next, with unforgettable hymns and pearls to rediscover. 
The unexpected success of the simple one (that was the name of the singles in Argentina) that contained La raft, with more than 200,000 copies sold in a short time, accelerated the departure of the first LP of Los Gatos that, as it was styled at that time, carried The name of the group as a name. 

Presumably, the impact of these twelve songs on the young followers of beat music has been decisive. His influence is heard in the first albums of Almendra and Manal, beyond the obvious stylistic differences. Likewise, the influence of the British movement of the time on this record is notorious, but also retaining a great degree of autonomy and novelty. 

The imprint of Litto Nebbia in the group was strong: in addition to being the singing voice, he was the composer of all the themes, with the exception of the authorship shared with Tanguito de La raft and the interpretation of Yesterday just by Moris and Pipo Lernoud ). Reviewing the names of the first formation we see other musicians who stood out in the following decades, such as Oscar Moro (Human Color, The Machine to Make Birds, Serú Girán, etc.) on drums, Alfredo Toth on bass (the T of GIT) and Ciro Fogliatta (Spirit, The Unknown Forever) on piano and organ. 

Beyond the two huge themes that served as a battering ram to get to the LP, this album has jewels like Forget it (track3), Mother listen to me (4), An Autumn Day (6) or The King Wept (11) played by Luis Alberto Spinetta in 2009, in that remembered show of Las Bandas Eterna, shows the place that this album occupies in the imaginary of the pioneers of Argentine rock. 

Melopea, a seal founded by Nebbia in the '80s, dean among the independents, reissues this album - and promises to do the same with the next five years - 25 years after the multinational company that had it in its catalog made its last edition on CD . It is possible that it also comes out on vinyl, very soon. A commendable effort to preserve an important part of our cultural heritage.....~



Credits 

Bass – Alfredo Toth 
Drums – Ciro Fogliatta 
Guitar – Kay Galiffi 
Keyboards – Oscar Moro 
Vocals, Guitar – Litto Nebbia



Tracklist 

La Balsa
Ya No Quiero Soñar
Lo Olvidarás
Madre Escúchame
Un Día De Otoño
Ríete
El Vagabundo
Me Harás Pensar En El Amor
Ayer Nomás
Mi Ciudad
El Rey Lloró
Que Piensas De Mi



First line-up (1967-1968) 
* Bass: Alfredo Toth 
* Keyboards: Ciro Fogliatta 
* Guitar: Kay Galiffi 
* Vocals, harmonica: Litto Nebbia 
* Drums: Oscar Moro 

Second line-up (1969-1970) 
* Bass: Alfredo Toth 
* Keyboards: Ciro Fogliatta 
* Guitar: Pappo Napolitano 
* Vocals, harmonica: Litto Nebbia 
* Drums: Oscar Moro 

Third line-up (1971) 
* Keyboards: Ciro Fogliatta 
* Guitar: Alfredo Toth 
* Bass, vocals: Litto Nebbia 
* Drums: Oscar Moro









Discografía 

Los Gatos, (1967) 
Los Gatos “volumen 2”, (1968) 
Seremos amigos, (1968) 
Beat No 1, (1969) 
Rock de la mujer perdida, (1979) 
En vivo y en estudio, grabado en 1971 editado en (1987) 

Alma Y Vida "Alma Y Vida"1971 + "Alma Y Vida - Volumen II" 1972 + ‎"Del Gemido De Un Gorrión" 1974 + Volumen 4" 1974 + ‎"Vol. 5" 1976 Argentina Prog Jazz Rock


Alma Y Vida "Alma Y Vida"1971 + "Alma Y Vida - Volumen II" 1972 + ‎"Del Gemido De Un Gorrión" 1974 + Volumen 4" 1974 + ‎"Vol. 5" 1976  Argentina Prog Jazz Rock (Bernardo Baraj Quinteto, Billy Bond And The Jets, La Banda, Los Tammys,The Seasons,ALAS,Los Guantes Negros-members)

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While the sounds prevailing at the time, corresponded to sets related to "the new wave", were a few who tried to differentiate themselves with something different. And that difference denoted greater quality of composition and interpretation. The singing in Castilian and a hippie image, were a seal of new airs, and the birth of rock in Argentina. Tanguito, Los Gatos, Almendra, Manal and Vox Dei, were some of those who made a point with this philosophical-musical change. But a band that initially appeared as a support for Leonardo Favio, took its own weight and developed a style. Back in 1970, several musicians of unquestionable creativity, began to recognize the path of jazz and rock. Something that until then was not common for the local environment. Soon, Bernardo Baraj (winds), Juan Barrueco (guitar), Carlos Mellino (keyboards and voice), Carlos Villalba (bass), Alberto Hualde (drums) and Mario Salvador (trumpet) debuted at the Opera Theater on a Sunday morning. Rock at that time was not well seen, and the schedules were consistent with that thought. Cycles were used to organize where almost all the "big" of the moment passed. Alma y Vida was synonymous with good music, close to jazz, where the winds, the interpretative quality and the personal voice of Mellino prevailed. They participated in two successful BA Rock editions and were joining mass media such as radio and television. Thus, they came to show with greater scope their proposal, which at that point was respected by public and critics. With five recordings they showed their evolution. They were "Soul and Life" (1971), "Volume II" (1972), "From the moan of a sparrow" (1973), "Volume IV" (1974), and "Volume V" (1976). A change in the formation was that of Gustavo Moretto in winds and keyboards by Salvador. He participated in the recording of most of the albums, but in 1975 he decided to retire to form Alas. Meanwhile, Alma and Vida recorded their last LP, for a few months after dissolving before the departure of Mellino's group. Gone is the stage of a band that is worth listening again. To rescue the poetry of his lyrics, a personal look on the world, and harmonious music, of tight sounds. Is that, all past time was no better. Although there are reasons to remember several examples that would do us all good. And in the country as in music, there is the same need, to do things well, to do them with Alma Y Vida .....~



Alma y Vida were a musical group in Argentina during the first half of the 1970s. Composed of jazz musicians that turned to rock music in the late 1960s (Carlos Mellino was a member of The Seasons), while other future members were regular visitors at the historic La Cueva club, Alma y Vida were pioneers in Argentina of jazz-rock in the vein of Blood, Sweat & Tears, group whose music influenced the band's formative sound.
History 
Once they settled on a style, Alma y Vida recorded their debut single: "Niño de color cariño" b/w "He comprendido", for the Mandioca label. Soon after, Gustavo Moretto replaced Mario Salvador on the horns, which would in hindsight be an important development. Alma y Vida then proceeded to sign with RCA to release their first self-titled album. 

Alma y Vida was to be influenced by the huge success of Chicago's similar music proposal. 1971's homonymous debut featured hit songs "Mujer, gracias por tu llanto", "Veinte monedas" (with superb guitar) and "Lágrima de ciudad".
The band was increasingly popular in not-so-rock circles, particularly in so-called "trendy" clubs, yet only mildly received in the rock industry. But the strength of their sound would begin to reach crossover audiences, particularly after their 2nd full-length Alma y Vida II (another influence of Chicago was the title of the records). The track "Hoy Te Vamos a Cantar" was a significant hit.

Their third album, 1973's Del Gemido de un Gorrión, was arguably their strongest and one of the best rock releases of the period. It was sophisticated music, as much rock as mature melodies with some political leanings (to the left), predicting Argentine rock trends by about three years. 

Alma y Vida released self-titled number IV for RCA in 1974. "Salven a Sebastián" ("Save Sebastian"), is widely seen as the biggest single in the group's catalog. And the rest of the album remains strong, the culmination of a half-decade of strong musical output that by 1975 had won rockers and music hall listeners alike. 

But by then Gustavo Moretto gave the announcement he was stepping aside from Alma y Vida to pursue new musical horizons (he would form prog-rock act ALAS). 

A now five member group released Alma y Vida V (number five), in early 1976. But the album showed clear signs of fatigue, in spite of a solid single in "Le daré su mano a Dios". That would be the end of the road for the group, with Carlos Mellino also leaving, but not before Alma y Vida left a delightful and gratifying sounding mark in the landscape of music of their time.....wiki....~




Alma Y Vida "Alma Y Vida"1971

Pioneer of jazz-rock, this group was born as an accompaniment of singer Leonardo Favio, from whom they opened in 1970. This was a group founded by musicians in love with jazz who had gradually turned to rock and the so-called beat music of the early ' 70 without forgetting its roots. The first steps of the group were directly related to the style of foreign bands such as Blood, Sweet & Tears and Chicago, formations that also had a jazz root but that moved close to rock. 
Alma y vida debuted during a cycle on Sunday mornings at the Opera Theater, along with names such as Manal, Arco Iris and Vox Dei. 
With the admission of Gustavo Moretto in replacement of Mario Salvador, Alma y Vida found his best form and fulfilled an outstanding performance in the first two editions of the mythical BARock festival, at the former Municipal velodrome. This success prompted them to record the first album, in 1971. Based on several hits such as "Save Sebastian" or "Today we want to sing to you", the band achieved great repercussion among an audience not strictly rocker and thus managed to establish itself in a regular dancer cheerleader in "fashion" clubs. 
At the end of 1974 Gustavo Moretto moved away from training to enter a much more complex and elaborate music with the Alas trio. His departure accelerated a process of internal crisis in the group that the entrance of the vientista Osvaldo Lacunza could not save. 
In 1976, Alma y Vida recorded their fifth and final LP and soon after being edited, the group broke up following the departure of Carlos Mellino.....~


Alma y Vida arises from the meeting of a group of jazz-oriented musicians who frequented the mythical Cave of Passarotus with former member of the beat band The Seasons, Carlos Mellino. It is commented that in their origins they were the accompanying band of a well-known musician. They record a simple song, whose song "Niño de Color Cariño" can be heard in the compilation "Let's order Pears from Mandioca. As a curiosity it can be said that Mario Salvador, who soon retires from the band, participates in this trumpet, but returns to occupy the put in the group meeting 30 years later, immediately enters the band Gustavo Moretto and recorded the first album simply called "Soul and Life", where the influences of bands such as Chicago and Blood, Sweat & Tears are observed. The winds section has a preponderant role alongside the particular and powerful voice of Mellino, who sings on almost every subject. Moretto does it only in his theme "La Morada", a theme that includes an attractive baroque arrangement starring the winds. This album hits hits such as "Woman, thanks for your crying" (theme in which Ricardo Lew appears as co-author) and "The Great Society", however there are very attractive themes such as the intense "Twenty Coins" (With actor Esteban Mellino, Carlos's brother as the author of the lyrics) or the sadly brief jam of "Y ... This ...?" The lyrics alternate love themes with others of net social and political commitment, elements that will be characteristic of the group's lyrics. Moretto does it only in his theme "La Morada", a theme that includes an attractive baroque arrangement starring the winds. This album hits hits such as "Woman, thanks for your crying" (theme in which Ricardo Lew appears as co-author) and "The Great Society", however there are very attractive themes such as the intense "Twenty Coins" (With actor Esteban Mellino, Carlos's brother as the author of the lyrics) or the sadly brief jam of "Y ... This ...?" The lyrics alternate love themes with others of net social and political commitment, elements that will be characteristic of the group's lyrics. Moretto does it only in his theme "La Morada", a theme that includes an attractive baroque arrangement starring the winds. This album hits hits such as "Woman, thanks for your crying" (theme in which Ricardo Lew appears as co-author) and "The Great Society", however there are very attractive themes such as the intense "Twenty Coins" (With actor Esteban Mellino, Carlos's brother as the author of the lyrics) or the sadly brief jam of "Y ... This ...?" The lyrics alternate love themes with others of net social and political commitment, elements that will be characteristic of the group's lyrics......~


Alma y Vida arises from the meeting of a group of jazz-oriented musicians who frequented the mythical Cave of Passarotus with former member of the beat band The Seasons, Carlos Mellino. It is commented that in their origins they were the accompanying band of Leonardo Favio. They record a single for the Mandioca label whose themes, "Child color sweetheart" and I have understood "are included as bonus tracks of this publication. As a curiosity it can be said that Mario Salvador, who soon retires from the band, participates in this trumpet, but he returns to the post at the group meeting 30 years later, immediately enters the band Gustavo Moretto and they record the first album simply titled "Alma y Vida", where the influences of bands such as Chicago and Blood, Sweat & Tears The winds section has a preponderant role alongside the particular and powerful voice of Mellino, who sings on almost every subject. Moretto does it only in his theme "La Morada", a theme that includes an attractive baroque arrangement starring the winds. This album hits hits such as "Woman, thanks for your crying" (theme in which Ricardo Lew appears as co-author) and "The Great Society", however there are very attractive themes such as the intense "Twenty Coins" (With actor Esteban Mellino, Carlos's brother as the author of the lyrics) or the brief jam "Y ... This ...?". However, the great theme of the album is "Lagrima de ciudad" with its more than 9 minutes of great lyrical intensity in the voice of Mellino and virtuous sound passages with jazz airs in charge of the band. Moretto does it only in his theme "La Morada", a theme that includes an attractive baroque arrangement starring the winds. This album hits hits such as "Woman, thanks for your crying" (theme in which Ricardo Lew appears as co-author) and "The Great Society", however there are very attractive themes such as the intense "Twenty Coins" (With actor Esteban Mellino, Carlos's brother as the author of the lyrics) or the brief jam "Y ... This ...?". However, the great theme of the album is "Lagrima de ciudad" with its more than 9 minutes of great lyrical intensity in the voice of Mellino and virtuous sound passages with jazz airs in charge of the band. Moretto does it only in his theme "La Morada", a theme that includes an attractive baroque arrangement starring the winds. This album hits hits such as "Woman, thanks for your crying" (theme in which Ricardo Lew appears as co-author) and "The Great Society", however there are very attractive themes such as the intense "Twenty Coins" (With actor Esteban Mellino, Carlos's brother as the author of the lyrics) or the brief jam "Y ... This ...?". However, the great theme of the album is "Lagrima de ciudad" with its more than 9 minutes of great lyrical intensity in the voice of Mellino and virtuous sound passages with jazz airs in charge of the band. 
The lyrics of the album alternate love themes with others of net social and political commitment, elements that will be characteristic in the lyrics of the entire career of the group....lanave del rock Argento....~


On mid’s 60’s, Carlos Mellino had been, along with Alejandro Medina, future bassist from Manal, a member from The Seasons, one of the first beat bands from Argentina. Gradually, he was contacting with jazz musicians, meeting the trumpeter, Salvador, and the guitarist Barrueco. Soon after, as an arranger and muscian, he was leading the band for Leonardo Favio, a national star. Bernardo Baraj recalls his entrance on the future band as a so-called millionaire football transference: 

‘I was playing with Sandro and the rivalry at the time between Sandro / Favio, was like Boca / River; actually its was a change, Ricardo Lew went with Sandro and i passed to Favio’s group. I remember when Leonardo finished singing, we always kept it playing, a non-stop thing, you know? The band sounded so tuned that when Favio really quited, we became an independent group. Thus was born Alma y Vida‘. 
In 1970, Leonardo Favio told them he would stop singing for a while, instead of separating they choose to build your own project, beginning to play under its own name, under a jazz-rock influence. Their first public performances took place in the cycle of Opera Theatre of Buenos Aires, sharing the stage with no less than Manal, Arco Iris and Vox Dei, on every-sunday mornings. (!) 

Salavdor: ‘We always were the first ones to play and people used to whistle, we actually heard some buzz in the very beginning, because see and hear a saxophone and a trumpet at the time was very rare. However, amidst the whistles, some part of the audience stood up and yelled to another, Shut up, deafs!’ 

Mellino: ‘Imposing a formation with so many kinds and total different styles, adapting it to our reality was a terrible challenge. We were out of the acoustic or drums, bass, guitar formula, add it that we behave well and were good professionals.’ 
The impact of these performances lead them to record a single with the legendary short-lived label Mandioca (we’ll have an dedicated post for it), with the songs Niño Color Cariño and He Comprendido. The participations on the mega festival B.A. Rock, prompted them to record a first plate in 1971 for RCA Argentina. Shortly before, Mario Salvador left the group and was replaced by Gustavo Moretto. In its first studio album, classics like Mujer, Gracias Por Tu Llanto and Hace Tiempo achieved regular success. With Moretto’s entry, Alma y Vida found their best form among all audiences, not only Argentine Rock gigs and crowds. Thereby establishing itself as a regular entertainer in the mythical La Cueva on Pueyrredón Avenue. 

Based on a solid live performance and creativity for hits, such as, Hoy Te Queremos Cantar and later Del Gemido de un Gorrion present on their second (Volumen II), and third (Del Gemido…) albums (respectively), the band reaches its pinnacle on musical charts, playing throughout the country, Uruguai and TV appearances. 
In late 1974, Gustavo Moretto leave the band to move into a more complex music, he founds the prog trio Alas. His departure accelerated a process of internal crisis, that not even the entrance of Osvaldo Lacunza couldn’t save. In 1975 Alma y Vida recorded its fifth and last Lp (Vol. 5), after a year the group finally broke up. 
This is without any doubt an underestimated band, practically unknown outside Argentina, this superb super-group became certainly one of my personal faves, aside Spinetta, Serú Girán, Arco Iris, Fito Páez, etc. Firstly, there are no comparison to any other rock acts in the 70’s, compared to Argentina and Brazil for instance, their spectacular jazzy sound, outstanding (!!) Mellino’s voice and lyrics that alternate on beautiful poetic love themes or social / political criticism, are a welcomed surprise. 

The band completely leaves the commonplace psych folk, prog or blues that was being made at the time, such as La Pesada, Pappo’s Blues, Sui Generis, Manal, Color Humano, Los Gatos, etc. Although Alma y Vida had never been an instrumental jazz band only! Inspired by Blood, Sweat and Tears and Chicago, the had a vision to introduce new aesthetics, solos and colors to Argentine Rock. 
Mellino: ‘We had a very large range because all came from different extractions, Bernardo and Juan were jazzists, Carlos a rock musician, Mario a scholar one, and I a beatlemaniac. A mixed salad that made Alma y Vida a well defined group.’ 

The ‘IM’ highlights are: Mujer Gracias Por Tu Llanto, a ravishing sentimental ballad with melodic horn, smooth pace, reeds and some outstanding dramatic vocals from Carlos Mellino, creating an unique atmosphere. A statement about love and solitude for any woman! And: Realidad de Sentir, with a crazy drum solo intro, this jazzy uptempo, invites us to enter in another reality, with metaphysical lyrics about our human senses, god, nature and the universe. There are some woodwind attacks, and this exciting melodic vein that are responsible for an album hard-to-describe......~


Credits 

Acoustic Bass, Electric Guitar, Vocals – Juan Barrueco 
Contrabass [Electric], Bombo [Symphonic], Vocals – Carlos "Carnaby" Villalba* 
Drums, Effects [Accessories], Vocals – Alberto Hualde 
Lead Vocals – Gustavo Moretto (tracks: A5) 
Lead Vocals, Organ – Carlos Mellino 
Tenor Saxophone, Soprano Saxophone, Baritone Saxophone, Concert Flute, Vocals – Bernardo Baraj 
Trumpet, Piano, Recorder – Gustavo Moretto


Tracklist 

Mujer Gracias Por Tu Llanto 3:23 
Me Siento Dueño Del Mundo 2:51 
Hace Tiempo 4:03 
Realidad De Sentir 3:05 
La Morada 3:51 
Veinte Monedas 2:38 
Lagrima De Ciudad 9:31 
¿Y... Esto...? 1:19 
La Gran Sociedad 3:35 





Alma Y Vida ‎ "Alma Y Vida - Volumen II" 1972

The fame of Alma y Vida started growing fastly and the band became famous in so-called trendy clubs, but far from trully rock circles.In 1972 comes the second album of the Argentinians, simply entitled ''Volumen II'' and showcasing the evident influence by the style of Chicago.This was again released on RCA's Vik sublabel.Another strong Horn Rock album, ''Volumen II'' continues from where ''Alma Y Vida'' stopped, with the group basing its strong rock content on the impressive horn sections of Baraj and Moretto.The vocal lines are again simply beautiful, propably among the best you can ever hear by an Argentinian ensemble.The music remains inspired by the approach of Chicago and Blood, Sweat & Tears.Accesible Psych/Horn Rock with limited prog interest, but once more well-played and executed.Bombastic horn sections battle with some excellent guitar work by Barrueco, while organs are used sporadically in a nice way.A couple of tracks do sound extremely commercial with a bit of Soul thrown in as well and should be of even more limited interest.The rest of the album though is very good with lots of jazzy influences and strong vocal harmonies, while there is always a pop sensibility in the group's material, though the album has nothing to with Pop Music in general.Good follower after the self-titled debut.The pair of black holes make it a bit inconsistent compared to the great debut, but anyone seeking for melodic Jazz/Horn Rock should purchase this album.....apps79....~


Tracklist 

Hoy Te Queremos Cantar 3:10 
Un Dia Mas 3:30 
No Corras Nono 3:25 
Cancion Que Se Viene 7:30 
Don Quijote De Barba Y Gaban 2:55 
Para Mi No Hay Jaula 5:20 
Fantasia Sobre Los Reyes Magos 2:45 
Un Sonido Final 5:45 


Alma Y Vida ‎ "Del Gemido De Un Gorrión" 1974

By 1973 Alma Y Vida had established a good name among the Argentinian Rock bands.Tracks like ''Hoy te queremos cantar», «Don quijote de barba y gaban» and «Para mí no hay jaula'' had become very popular, while for their next work they would receive an upgrade, recording for RCA Victor.The third effort of the band was titled ''Del gemido de un gorrion'' and was released in 1973.As with the previous albums, this one contains many short songs of melodic Horn Rock with pleasant vocals and poetic harmonies, showered by light flute drives but also lots of internse sax and trumpet plays, inflamed by Carlos Mellino's romantic, jazzy piano lines and featuring some nice guitar work by Juan Barrueco.Especially side A is not particularly progressive, it's more of a combination between Jazz and Psych Rock with detailed but rather downtempo and accesible instrumental parts and lots of vocals.Again the atmosphere is excellent and warm, even if these pieces lack some intricate instrumental activity.Side B is more energetic and slightly complex with a rockier and heavier sound.''Carna, rock y suficiente'' is more of a Heavy/Psych cut with strong electric guitars, powerful rhythms and raw vocals, while ''Un largo silencio'' may sound as a soft ballad at the beginning, but the presence of the delicate flute and the dominant piano performance shows evident connections with symphonic, Jazz and Avant-Garde Music.''Bussi a las 3 y media'' is propably the best piece of the opening side, lots of acoustic guitar and lyrical moments, combined with rural flutes and experimental organ torturing ala Van der Graaf Generator or Canterbury Fusion.While this is a rather uneven release, the good material is really good.Many people will find the melodic aspects of the band close to uninteresting, but certain pieces hold a trully proggy spirit....by....apps79 .....~

Tracklist 

Vos Te Equivocaste, Amigo 2:55 
Bussi A Las 3 Y Media 5:00 
Tambien Aquellos Caminos 6:25 
Del Gemido De Un Gorrión 3:15 
Pintaré De Poemas La Ciudad 3:10 
Vamos Hermano Americano 2:25 
Carna Rock Y Suficiente 5:30 
Es La Hora 3:00 
Un Largo Silencio 2:00 



Alma Y Vida ‎ "Volumen 4" 1974


Tracklist


Sin Rendición, El Jugador 8:48 
Cadenet 3:05 
Fabula Del Super Ratón Y El Pueblo 4:00 
Ajedrez 2:35 
Alguien Llega, Alguien Se Va 10:16 
Salven A Sebastián 3:20




Alma Y Vida ‎ "Vol. 5" 1976

The last album of the band to feature Gustavo Moretto in the line-up, before forming Alas.''Volumen 4'' contains propably the biggest hit of Alma y Vida, named ''Salven a Sebastián'', but there still notable Horn/Jazz Rock drives dominating the sound with full-on sax and trumpet, more sporadic flute and organ, while you can find Juan Barrueco performing on his jazziest mood ever.The long tracks have an atmosphere similar to SPINETTA JADE, soft but professional Jazz Rock with light psychedelic and progressive influences.The shorter pieces recall of SERU GIRAN, following a more poetic/Psychedelic Rock vein.....apps79 ....~

Tracklist


A1 Transparencia De Niña 
Written-By – Bernardo Baraj 
3:32 
A2 Bruja De Setiembre 
Written-By – Bernardo Baraj, Juan Barrueco 
2:34 
A3 Monta En La Ternura 
Written-By – Bernardo Baraj, Carlos Villalba 
2:53 
A4 Ritmo Loco Baraj 
Written-By – Bernardo Baraj, Carlos Villalba, Juan Barrueco 
7:57 
A5 Mercado Del Reptil 
Written-By – Bernardo Baraj, Carlos Villalba 
2:36 
B1 Le Daré Su Mano A Dios 
Written-By – Carlos Mellino, Esteban Mellino 
4:52 
B2 Hijo Este Es El Parque De Diversiones 
Written-By – Carlos Mellino, Esteban Mellino 
3:17 
B3 Vidala Para Tres 
Written-By – Juan Barrueco 
4:34 
B4 Del Escenario Tablas Sueltas 
Written-By – Carlos Mellino, Esteban Mellino 
6:49 











Original members 

Carlos Mellino: voice and keyboards 

Juan Barrueco: guitar 
Alberto Hualde: drums 
Bernardo Baraj: saxophone 
Carlos Villalba: bass 
Mario Salvador: horns













Álbumes 

1971 - Alma y Vida 

1972 - Alma y Vida Vol. 2 
1973 - Del gemido de un gorrión 
1974 - Alma y Vida Vol. 4 
1974 - Alma y Vida Vol. 5 
1990 - Juntos otra vez 
1991 - Nuevas sensaciones 

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