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2 Jan 2017

Jorge Pinchevsky “Su Violin Magico y la Pesada” 1973 Argentina Psych Prog

Jorge Pinchevsky “Su Violin Magico y la Pesada” 1973 Argentina  Psych Prog
This time it’s for real. During the 70’s, when this columnist worked on the magazine Expreso Imaginario, we came to the apparently good source of the disappearance of Pinchevsky, and we published an obituary that went down in history as a bad blooper with a happy ending. But there will be no happy endings now: a combination of bad luck (Jorge was hit by a bicycle) and the endemic ills of this country (poor attention in public hospitals) took the life of a legendary character, bohemian irredento, the The only Argentine rock violinist who came to fame as a soloist. 
Pin was a good example of how rock changed his head to a whole generation. Musician of conservatory, it touched in the Symphony of the Silver when it made contact with the community and artistic life of the Brotherhood of the Solar Flower; To the few days, electrified its instrument and left the Orchestra forever. 

Between 1970-74 he recorded with Billy Bond and La Pesada del Rock & Roll and collaborated on many historical albums: among them, Institutions, by Sui Generis; Christ Rock, by Raul Porchetto; The albums of Claudio Gabis, Alejandro Medina and Kubero Díaz … Along with La Pesada he also released his first solo work: Jorge Pinchevsky and his magic violin (1973). From his wandering around Europe during the second half of the 70s, a record with the Gong group: Shamal (1976) remains a record. Already in the 90s, back in Buenos Aires, he became accustomed to Zapata bluseras and recorded a new solo work (Jorge Pinchevsky and Samovar Big Band, 1995) together with the musicians of the Samovar of Rasputín. 

The recordings will serve to tell only a good part of the story. The other, talking about a white-haired goblin and his magic violin, will remain in the memory of those who knew him. 

By Claudio Kleiman….Rolling Stone….. 

The following is the comment of Alfredo Rosso in the booklet that accompanies this edition 

Jorge Pinchevsky was born in Rosario, but his family moved to the city of La Plata when he was barely a few months old. 
His interest in music has developed since childhood. 
Years later he would declare: “When my father came back from work he always liked to put the radio on. 
One day, I would be three, sat on his knees while listening to a concert by Mendelsohn. 
I remember that the violinist was Yehudi Menuhin. At that time I was very excited about the music and I told my father that I wanted to be a violinist. 
I insisted so much that a couple of years later he gave me the violin and sent me to study at the Conservatory of La Plata, which at that time led Alberto Ginastera. 
It was difficult to enter, because they did not admit boys under six. ” 
The young Pinchevsky progressed in his studies of violin and piano, also studying on his own and learning the lessons of great masters of that time. 
Already in the adolescence began to play in ensembles of folklore and to the fifteen years, recently graduated from the Conservatory, he obtained a place in the Symphonic Orchestra of the Silver, in addition to continue perfecting itself in the fine arts. 
His musical destiny changed when he was reunited with an ex-partner of musical studies, Alberto Favero, who at the time was playing jazz with Pocho Lapouble and other musicians. 
Fascinated by the possibilities that opened up in the world of improvisation, Pinchevsky felt for the first time “that skin contact with my violin.” 

In 1972, Pinchevsky had another moment of revelation when he met Ricardo “Mono” Cohen (Rocambole), one of the inspirers of the Solar Flower Brotherhood pioneer group of the platense rock movement. 
Cohen took him to know the communal house where the musicians lived, along with artisans and other artists from different disciplines. 
Pinchevsky soon befriended guitarist Kubero Diaz and also Alejandro Medina, a former member of the Manal trio, which had just been dissolved. 
The violinist soon joined a “sizzle” and discover the potential of his instrument in the field of rock and blues. 
Medina convinced Pinchesvky to leave his work with the Symphony and to join the project that at that time were developing some of the main Argentine rockers around the emblematic figure of singer and producer Billy Bond: The Heavy of Rock and Roll. 
Since then, Jorge Pinchevsky became one of the strongholds of La Pesada, along with Bond, Medina, Kubero, drummer Isa Portugheis and another former Manal, guitarist Claudio Gabis. 
In addition to participating in several albums of La Pesada, such as “Vol. 2” (also known as “the disc of the ear”), “Tontos” and “Vol.4”, Pinchevsky is part of the stable cast of musicians that played in The individual albums of the members of La Pesada and also participated in discs of musicians foreign to the group, in character of sessionist. 
It was not surprising, then, that when he got a contract to record a long solo solo on the EMI label, his natural companions were his comrades in La Pesada, that is, Medina, Claudio, Diaz and - of course - Billy Bond In the role of artistic producer “de facto” of the resulting album, Jorge Pinchevsky, Su Violín Magico and La Pesada. 

Later, Pinchevsky recalled details of that recording: “The disc begins with a phrase of mine referring to Beethoven and the moment I say it is linked with a story that I had not planned.” Medina is annotated with the bass, Gabis plays the piano Kubero in the viola and we started to zapar. 
To that theme I put “The marvelous Marta and the force of things”, because at that moment I lived with a girl whose name was Marta and began to experience the power of love. 
In the disc the authors of the subjects are a little altered because we were some kind of cooperative. When some musician lacked copyright cachet for Sadaic, we put it on some subject. 
In the subject “We will not reach the butterflies” I sing. It’s a very rare thing, because I was forced to sing by force. 
The song “Rock full track with semidesarrollo” is called that because we did not finish it. discharge!! 
When we recorded it, we occupied all the channels of the console and the solos that we had planned to put did not enter and that was what is recorded. 

“For the cover I wrote a text to the decrepitude of the moment. 
Parallel to the repression of the moment there was a total social decay. After that, I already imagined that there was no possibility of continuing together because I remember that we lived in the communal house on Calle Conesa and armed groups were passing through the street throwing shots in the air. 
"I went to Las Golondrinas, in El Bolsón, with Miguel Cantilo and Kubero, from where he came out on material from the album Miguel Cantilo y Sur. 
From there I understood why the Beatles talk about "Strawberry Fields Forever”. Because in the spring we could not avoid walking without stepping on the fruits.  
From El Bolsón we went to Villa Gesell and recorded the album La Energía Total. 
On the way back I participated in Institutions, by Sui Generis, and recorded the symphonic version of La Biblia. 
After the presentation of the Bible, Billy Bond went to Brazil and we did the last presentation of La Pesada, in the Circus of Carlitos Bala. “’ 
Later Pinchevsky would go to Europe, but - according to his words - would not be his own election, but an exodus motivated by the political and social situation. "As I was totally paranoid, I hid in an island in the Rio de la Plata called Paulino. 

There he lived with fishermen of shaders who made fish meal. "The producer known as El Gordo Pierre, who had obtained a ticket to travel to France, recommended that he leave immediately. 
Pinchevsky listened to him and emigrated, barely able to say goodbye to his family. 
He was accompanied by Kubero Díaz and other former members of La Cofradía. 
After several adventures, including a visit to England and a subsequent return to French soil, the violinist managed to enter Gong, a prestigious group of the progressive genre, led by one of the pop songs of Canterbury rock, the Australian David Alien. 
With them, he recorded the album Shamal, where - in addition to playing his violin - he contributed some vocal stanzas, singing an air of tango. …….. 

- Pinchevsky: violín y voz 
- Alejandro Medina: voz y bajo 
- Kubero Díaz: guitarra 

1 La Maravillosa Marta Y La Fuerza De Las Cosas
2 Parte De Baile Para Grupos Solistas
3 Pegado A La Rumba
4 Juan Manuelito Rock
5 No Nos Alcanzaran Las Mariposas
6 Rock Full Track Con Semidesarrollo
7 Y Asi Van Pasando Los Años Señora

johnkatsmc5, welcome music..