jueves, 6 de marzo de 2014

Bubu - Anabelas (1978)


Artista: Bubu
Álbum: Anabelas
Año: 1978
Género: Progresivo ecléctico / Canterbury / No tengo idea, pero es genial
Duración: 39:53
Nacionalidad: Argentina

Lista de Temas:
1. El Cortejo de un Día Amarillo
2. El Viaje de Anabelas
3. Sueños de Maniquí

Alineación:
- Daniel Andreoli: Direccion
- Eduardo Rogatti: guitarra
- Petty Guelache: Voces
- Polo Corbella: Percusion
- Wim Forstman: Saxo tenor
- Sergio Polizzi : Violin
- Eduardo Folino: Bajo
- Cecilia Tenconi: Flauta traversa

Y ya que estamos resubiendo y resubiendo... ¿porqué no volver a traer esta maravilla de todos los tiempos?. Aquí tienen, para el que vivía en una media y no los conocía, o para el que no lo tenía ne buena calidad de sonido, para el bolsillo del caballero y la cartera de la dama. Con ustedes, la bella Anabelas vuelve a vivir en el blog cabezón.




Carajo, estoy seguro que este disco ya estaba publicado, pero ahora lo estaba buscando y no lo encuentro ¿porqué será que en este espacio hay post que desaparecen? ¿serán abducidos?... sea el que sea, miren que nos hacen laburar al pedo, eh!
Imagino que todo el mundo conoce a Bubu, esa banda majestuosa con ese nombre estúpido (en realidad esa fue la idea al ponerle ese nombre: lo contrario a la mayoría de bandas, que con nombres majestuosos hacen música estúpida). Y para el desprevenido que no los conozca, este es sin duda una de las mejores obras del rock progresivo argentino, una banda excepcional encabezada por Daniel Andreoli Miguel Zavaleta y el guitarrista Eduardo Rogatti. Del mejor prog jazz rock que se haya facturado en la Argentina, sin duda.
Este álbum es el único de la discografia de este grupo. Su sonido es muy canterburiano (¿estará bien dicho, o inventé un término nuevo?), en momentos recuerda la etapa del "Hot Rats" de Zappa, pero también a King Crimson, Magma o Van Der Graaf Generator por igual. Tiene tres temas dos larga duracion, multitud de instrumentos, arreglos, matices, arreglos vocales muy interesantes y una instrumentacion con vientos y cuerdas increíbles. Una joyita de un grupo que dejo este único registro lo que los transformó en leyenda.
Si no lo conocen, ni duden en bajárselo, al escucharlo sabrá porque lo digo.

BUBU's "Anabelas" is one of the most complete prog albums to have come out of Argentina in the 1970s. "Anabelas" consists of three long epic compositions, and features mostly instrumental music that sounds like a cross of early KING CRIMSON, MAGMA and ÄNGLAGARD. BUBU was quite a large band and actually with a wide range of talent and instrumentation. Along with the traditional rock set-up (guitar, bass, and drums), the band featured a violinist, flutist, saxophonist, and pianist. Each composition is filled with intense interaction between the musicians, dozens of melodic surprises, and unexpected tempo changes. Their music is complex, energetic, and diabolical in a KING CRIMSON-ish sort of way. Very surprising is that there is no noodling and very little soling to be found here and although does offer a pretty trippy and wild musical experience, never gets too out of control or becoming un-accessible for the listener. Without a question this is an awesome recording and a necessity in anyone's progressive rock collection. Absolutely brilliant progressive rock...!
James Unger

Bubu was one of the most amazing bands to come out of the Latin American rock scenario, their own one shot 'Anabelas' being an awesome piece of avantgarde prog music. Not only is the instrumentation odd, but the compositions and subsequent arrangements are pretty complicated (not gratuitously complicated, let's state this clear). The combined mastery of all musicians involved allow Bubu to shine immensly as an exquisite yet fiery ensemble, full of both weirdness and distinction. Even when some guitar and sax sounds feel a bit harsh, the listener can feel that the sense of exquisiteness prevails. The sax, flute and violin players wander with ease and precision from free-jazz to dissonant contemporary chamber to well defined instrumental "chorales" all along the way; in parallel, the guitar/bass/drums trio make a powerful statement in the crossroads of 73-74 King Crimson and 71-73 Mahavishnu, as well as some Canterbury elements (on its wildest side). Many guitar solos and textures happen to mingle fluidly among the wind and violin passages, which allows the melodic thing become so weird and at the same time, so captivating. The opening track is the sidelong suite that makes, IMHO, the most impressive number in the whole record. The band shows their skills at creating intense complexity without losing consistence, as well as at developing motif expansions cleverly and interact as a solid unit. A particular mention goes to bassist Folino, who manages to make his instrument featured among the storms created by most of his fellows. This track also includes quotations from Elgar's 'Pomp and Circumstance' during one of its eerier sections. Another special mention goes to the deceitfullly relaxing motif based on acoustic guitar and dreamy chorale: the explosive sax solo brings an anticipation of a tension soon to resurface and deliver the track's closing climax. A masterpiece in itself is 'El Cortejo de un Día Amarillo'. All in all, the other two pieces are nothing to be dismissed; while not being as epically diverse as the aforesaid suite, they complete the album's musical direction with total cohesiveness. Particularly, I find a big deal of 71-75 Zappa-esque niches on 'El Viaje de Anabelas', which turns out to be the most exhalarating of all three pieces. It starts by bringing some bucolic episodes before the band goes headlong for a series of dissonant articulations that eventually lead to a playful section. A violin solo creates an aura of solemnity that gradually builds up to a majestic, moderately explosive ending. 'Sueños de Maniquí' kicks off with a dreamy sung prologue based on piano scales, but soon a guitar sustained lead prepares the road for the full band entry, endulging in an exciting jazz-rock excursion. The return of the sung section now benefits from the use of instrumental colors, which mostly serve as means for orchestral layers and counterpoints. The 11/4 closing theme remainds of some other in 'El Cortejo', only with a slighltly weirder edge. While being far from your "prototypical" melodic Latin American symph prog, 'Anabelas' remains one of the top Argentinian prog works ever - it sure deserves the perfect rating.
Cesar Inca

Y por favor, y a los que se dedican a eliminar post, déjense de joder.




7 comentarios:

  1. Download: (Flac + CUE + Log)
    http://lix.in/-ae5519

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  2. Nuevo link de descarga lossless:

    http://lix.in/-c2ae4e

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  3. crees en la realidad
    pero.
    no
    la
    entenderas
    jaaaamaaasssss


    larga vida a BUBU !!!!

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  4. 320: http://link-safe.net/folder/200e3bb7-87c2
    FLAC: http://link-safe.net/folder/28fe0bc2-a1bc

    ResponderEliminar
  5. Nuevos links de descarga...

    Download: (Flac + CUE + Log + m3u + Scans)
    http://pastebin.com/b1Kg77iK

    ResponderEliminar
  6. ¡20 TB de gracias! ;-) Los disfruté en vivo incontables veces, cuando Zabaleta era el cantante (quien presentaba a la flautista como "Tetilia Cenconi", por razones evidentes)- Aún conservo el vinilo que compré al día siguiente de estar disponible en las disquerías. Una vez más, ¡GRACIAS!

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