Interview"Today is a very special time because we display to Altablanca, Argentina side which emerged as one of the vital progressive forces Mendoza circuit between 1976 and 1983. His proposal was sound beautiful and energetic, determined with technical ease and executed with a unique creativity, and luckily it is not buried in the memory of those generations who saw action for the seal Stationary Traveler, thanks to the hard work of Mario Mátar (former guitarist) and Erni Vidal, held in La Vizcachera Studio, just released “En vivo Mendoza ‘81” a recording of two concerts that took place in the Altablanca Mendoza Independence Theatre on November 16, 1981. The formation of that time consisted of: Mario Mátar on guitar, Daniel Martín on flute and guitar, Jorge Aguerre on bass, the keyboardist was Jorge Zangheri, and Susana ‘Turca’ Nalldi was on vocals and acoustic guitar. Since its formation in 1976, prior to this concert times, had passed through the band's bassist Javier Segura, flautist Paul Romagnoli, guitarist Daniel González (in tandem with Mátar), bassist Daniel Soria, Natalio Faingold (who started as a drummer and then transitioned to the role of keyboardist), drummer Eduardo Aveni, etc..
Rescue work, further editing and mastering was completed in two stages: first, between 2000 and 2005 inclusive, while Mátar and Vidal were active in the ZONDA PROJECKT (another great assembly Mendoza), and then, from 2010, was resumed the affair that lasted until this year 2013. More details about this heroic process of "progressive archeology" of this material can be read in the interview Erni Vidal published in the Journal 'Uno':
http://www.diariouno.com.ar/espectaculos/El-legado-de-Altablanca-toma-forma-30-ao...130717-0002.html. For our part, we review the repertoire of the disc now, okay?
‘Preludio II’ starts Altablanca machinery with a halo Cameliana managed and developed an envelope and poignant lyricism: the central motif is exploited on a continuum that never runs out. Then follows ‘El Burlón De La Floresta’, in a slightly less space than 4 minutes displaying a colorful and playful dynamism where the complexities of the rhythmic pattern of inspiration fusionesca develop with complete ease. ‘El Vértice Del Peine’ is one of the defining moments of this summit catalog: indeed, its central body, which sounds like a hybrid of RETURN TO FOREVER and YES, imposes a force compelling character through its intricate sonic architecture . The rhythm duo shines in a special way here, allowing tremendous showcasing kill count on a solid support. But ... just when the listener needs a moment of respite from this massive deployment of purely progressive splendor, comes ‘Paso a La Vida’, an ambitious divided into two large parts composition that together add up to a duration of 16 minutes. Part 1 develops a warm atmosphere, developed with a pristine use of subtlety that does not silence at all the ethereal beauty that marks the first section and the Mannerist crescendo later emerge after a cosmic interlude. Part 2 turns to a dramatic solemnity based on a formal schema and instrumental singing Susana Talldi that echoes the passionate cry existentialist expressed in the letters is done. The general framework of this concept has the air of a family with M.I.A., PINK FLOYD and LE ORME that can warn as benchmarks. With a great start provided by the first two issues and generated a continuous top three themes, the music lover ecstasy is final and conclusive. But there is more, and that will go in the next paragraph.
No Michael - I haven't got this one yet, but it's on the shopping list! Smile
Here's a bit of info/review google-translated from Spanish from here:
http://autopoietican.blogspot.co.uk/2013/09/altablanca-el-legado-de-la-primera.htmlAltablanca - the legacy of the first generation progressive Mendoza:
Today is a very special time because we display to Altablanca, Argentina side which emerged as one of the vital progressive forces Mendoza circuit between 1976 and 1983. His proposal was sound beautiful and energetic, determined with technical ease and executed with a unique creativity, and luckily it is not buried in the memory of those generations who saw action for the seal Stationary Traveler, thanks to the hard work of Mario Mátar (former guitarist) and Erni Vidal, held in La Vizcachera Studio, just released “En vivo Mendoza ‘81” a recording of two concerts that took place in the Altablanca Mendoza Independence Theatre on November 16, 1981. The formation of that time consisted of: Mario Mátar on guitar, Daniel Martín on flute and guitar, Jorge Aguerre on bass, the keyboardist was Jorge Zangheri, and Susana ‘Turca’ Nalldi was on vocals and acoustic guitar. Since its formation in 1976, prior to this concert times, had passed through the band's bassist Javier Segura, flautist Paul Romagnoli, guitarist Daniel González (in tandem with Mátar), bassist Daniel Soria, Natalio Faingold (who started as a drummer and then transitioned to the role of keyboardist), drummer Eduardo Aveni, etc..
Rescue work, further editing and mastering was completed in two stages: first, between 2000 and 2005 inclusive, while Mátar and Vidal were active in the ZONDA PROJECKT (another great assembly Mendoza), and then, from 2010, was resumed the affair that lasted until this year 2013. More details about this heroic process of "progressive archeology" of this material can be read in the interview Erni Vidal published in the Journal 'Uno':
http://www.diariouno.com.ar/espectaculos/El-legado-de-Altablanca-toma-forma-30-ao...130717-0002.html. For our part, we review the repertoire of the disc now, okay?
‘Preludio II’ starts Altablanca machinery with a halo Cameliana managed and developed an envelope and poignant lyricism: the central motif is exploited on a continuum that never runs out. Then follows ‘El Burlón De La Floresta’, in a slightly less space than 4 minutes displaying a colorful and playful dynamism where the complexities of the rhythmic pattern of inspiration fusionesca develop with complete ease. ‘El Vértice Del Peine’ is one of the defining moments of this summit catalog: indeed, its central body, which sounds like a hybrid of RETURN TO FOREVER and YES, imposes a force compelling character through its intricate sonic architecture . The rhythm duo shines in a special way here, allowing tremendous showcasing kill count on a solid support. But ... just when the listener needs a moment of respite from this massive deployment of purely progressive splendor, comes ‘Paso a La Vida’, an ambitious divided into two large parts composition that together add up to a duration of 16 minutes. Part 1 develops a warm atmosphere, developed with a pristine use of subtlety that does not silence at all the ethereal beauty that marks the first section and the Mannerist crescendo later emerge after a cosmic interlude. Part 2 turns to a dramatic solemnity based on a formal schema and instrumental singing Susana Talldi that echoes the passionate cry existentialist expressed in the letters is done. The general framework of this concept has the air of a family with M.I.A., PINK FLOYD and LE ORME that can warn as benchmarks. With a great start provided by the first two issues and generated a continuous top three themes, the music lover ecstasy is final and conclusive. But there is more, and that will go in the next paragraph.
‘Noviembre’ is a composition of Faingold that combines perfectly within a relatively rested rhythmic pattern, stylized nuances of symphonic music in its purest form and swing of jazz-rock, making good use of melodic explayamientos ongoing . It also noted the intense synth solo which emerges light storm exquisite sound made during the crucial climax of the piece (imagine a hybrid WATKINS EMERSON and to get an idea of ??the explosive light synthesizer). 'Shayton', meanwhile, offers an exercise in progressive blues-rock style of the Argentine essentially INVISIBLE and PESCADO RABIOSO: Nalldi includes some Arabic words in her song ‘Aires De Tango Para Una Mujer’ and ‘Explicaciones (De Lo Nuestro)’ continue on with the show emphasizing the contemplative aspect of the group: the first exhibits bucolic friendly climates under the guidance of the flute, while the second focuses relaxing frames harmonic with guitar and taking the leading position in tandem keyboard. The concert ends with another exciting cusp ‘Athenágoras’. This part carries an effective and appealing dynamic based on a well-articulated swing that can make us recall standards HAPPY THE MAN, GILGAMESH and YES ... and includes a portentous drum solo by Corvalán. The final applause of the audience is fair to both reward deployment of musical wit, and above all, is an echo of the delicious adrenaline outspread in this closing part.
No Michael - I haven't got this one yet, but it's on the shopping list! Smile
Here's a bit of info/review google-translated from Spanish from here:
http://autopoietican.blogspot.co.uk/2013/09/altablanca-el-legado-de-la-primera.htmlAltablanca - the legacy of the first generation progressive Mendoza:
Today is a very special time because we display to Altablanca, Argentina side which emerged as one of the vital progressive forces Mendoza circuit between 1976 and 1983. His proposal was sound beautiful and energetic, determined with technical ease and executed with a unique creativity, and luckily it is not buried in the memory of those generations who saw action for the seal Stationary Traveler, thanks to the hard work of Mario Mátar (former guitarist) and Erni Vidal, held in La Vizcachera Studio, just released “En vivo Mendoza ‘81” a recording of two concerts that took place in the Altablanca Mendoza Independence Theatre on November 16, 1981. The formation of that time consisted of: Mario Mátar on guitar, Daniel Martín on flute and guitar, Jorge Aguerre on bass, the keyboardist was Jorge Zangheri, and Susana ‘Turca’ Nalldi was on vocals and acoustic guitar. Since its formation in 1976, prior to this concert times, had passed through the band's bassist Javier Segura, flautist Paul Romagnoli, guitarist Daniel González (in tandem with Mátar), bassist Daniel Soria, Natalio Faingold (who started as a drummer and then transitioned to the role of keyboardist), drummer Eduardo Aveni, etc..
Rescue work, further editing and mastering was completed in two stages: first, between 2000 and 2005 inclusive, while Mátar and Vidal were active in the ZONDA PROJECKT (another great assembly Mendoza), and then, from 2010, was resumed the affair that lasted until this year 2013. More details about this heroic process of "progressive archeology" of this material can be read in the interview Erni Vidal published in the Journal 'Uno':
http://www.diariouno.com.ar/espectaculos/El-legado-de-Altablanca-toma-forma-30-ao...130717-0002.html. For our part, we review the repertoire of the disc now, okay?
‘Preludio II’ starts Altablanca machinery with a halo Cameliana managed and developed an envelope and poignant lyricism: the central motif is exploited on a continuum that never runs out. Then follows ‘El Burlón De La Floresta’, in a slightly less space than 4 minutes displaying a colorful and playful dynamism where the complexities of the rhythmic pattern of inspiration fusionesca develop with complete ease. ‘El Vértice Del Peine’ is one of the defining moments of this summit catalog: indeed, its central body, which sounds like a hybrid of RETURN TO FOREVER and YES, imposes a force compelling character through its intricate sonic architecture . The rhythm duo shines in a special way here, allowing tremendous showcasing kill count on a solid support. But ... just when the listener needs a moment of respite from this massive deployment of purely progressive splendor, comes ‘Paso a La Vida’, an ambitious divided into two large parts composition that together add up to a duration of 16 minutes. Part 1 develops a warm atmosphere, developed with a pristine use of subtlety that does not silence at all the ethereal beauty that marks the first section and the Mannerist crescendo later emerge after a cosmic interlude. Part 2 turns to a dramatic solemnity based on a formal schema and instrumental singing Susana Talldi that echoes the passionate cry existentialist expressed in the letters is done. The general framework of this concept has the air of a family with M.I.A., PINK FLOYD and LE ORME that can warn as benchmarks. With a great start provided by the first two issues and generated a continuous top three themes, the music lover ecstasy is final and conclusive. But there is more, and that will go in the next paragraph.
‘Noviembre’ is a composition of Faingold that combines perfectly within a relatively rested rhythmic pattern, stylized nuances of symphonic music in its purest form and swing of jazz-rock, making good use of melodic explayamientos ongoing . It also noted the intense synth solo which emerges light storm exquisite sound made during the crucial climax of the piece (imagine a hybrid WATKINS EMERSON and to get an idea of ??the explosive light synthesizer). 'Shayton', meanwhile, offers an exercise in progressive blues-rock style of the Argentine essentially INVISIBLE and PESCADO RABIOSO: Nalldi includes some Arabic words in her song ‘Aires De Tango Para Una Mujer’ and ‘Explicaciones (De Lo Nuestro)’ continue on with the show emphasizing the contemplative aspect of the group: the first exhibits bucolic friendly climates under the guidance of the flute, while the second focuses relaxing frames harmonic with guitar and taking the leading position in tandem keyboard. The concert ends with another exciting cusp ‘Athenágoras’. This part carries an effective and appealing dynamic based on a well-articulated swing that can make us recall standards HAPPY THE MAN, GILGAMESH and YES ... and includes a portentous drum solo by Corvalán. The final applause of the audience is fair to both reward deplyment of musical wit, and above all, is an echo of the delicious adrenaline outspread in this closing part.
In addition to these 10 topics we've reviewed, the disc contains 3 bonus tracks recorded in a couple of demos of study: the first dates from 1983, the other two in 2000. ‘Tema De Zarkeff’ is an immersive display dreamy melodic delicacy that manifests as a powerful magic spell of melancholy. Meanwhile, the pair of ‘En El Parque’ and ‘Se Esconde El Viento (Duerme)’ takes us through paths of bucolic serenity samples, the first marked by the duet of flute and acoustic guitar, the second by Susana's singing alternating with the guest violin of Rodolfo Castagnolo.
Has been given in the past the confluence of a sin and a crime: sin was in the hands of fate and crime, in the hands of the mainstream music industry in Argentina those late 70s, sin and crime of thrown into limbo the magnificent creative work Altablanca to dignify the ideal of progressive rock. Now with the release of “En Vivo Mendoza ‘81” rock art collectors of all times and places can redeem greatly from the consequences of this crime and that sin. Altablanca lives!
yam yam for
progarchives.com 
