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Weather Report – Mysterious Traveller (1974)

A pesar de que seguramente, si no todos, la mayoría de los cabezones conocerán este disco, tenía muchas ganas de reseñarlo. Se trata de un disco que supuso mi primer acercamiento al jazz,  y que, a pesar de que han pasado bastantes años, sigue gustándome mucho. Por otra parte, me parecía que un disco así no podía faltar en la biblioteca cabezona. Por todo lo dicho, me puse a investigar, y he aquí lo que averigué

Artista: Weather Report
Álbum:  Misterious Traveller
Año: 1974
Género: jazz fusión, world music
Duración: 48:17
Nacionalidad: EEUU


Lista de Temas
1.    "Nubian Sundance" (Zawinul) 
2.   "American Tango" (Vitouš, Zawinul) 
3.   "Cucumber Slumber" (Johnson, Zawinul) 
4.   "Mysterious Traveller" (Shorter) 
5.   "Blackthorn Rose" (Shorter) 
6.   "Scarlet Woman" (Johnson, Shorter, Zawinul) 
7. "Jungle Book" (Zawinul)

Alineación:
*Josef Zawinul -  piano acústico y eléctrico,  sintetizador, guitarra, kalimba, órgano, tamboura,  tambor de arcilla, tack piano, melódica 
*Wayne Shorter - saxo soprano y tenor, tack piano  
*Alphonso Johnson - Bajo 
*Ismael Wilburn - Batería 
*Skip Hadden - Batería (pistas 1 y 4 solamente) 
*Dom Um Romão - percusión, tambores

Artistas invitados:

* Miroslav Vitouš - Bajo (pista 2 solamente) 
* Ray Barretto - percusión (pista 3 solamente) 
* Meruga - Percusión (sólo pista 1) 
* Steve Poco - Timpano (pista 6 solamente) 
* Don Ashworth - ocarinas e instrumentos de viento (pista 7 solamente) 
* Isacoff - Tabla, crótalos (pista 7 solamente) 
* Edna Wright - Vocalista (sólo pista 1) 
* Martí McCall - Vocalista (sólo pista 1) 
* Jessica Smith - Vocalista (sólo pista 1) 
* James Gilstrad - Vocalista ( sólo pista 1) 
* Billie Barnum - Vocalista (sólo pista 1)



                                      


Siempre asocio este magnífico disco a mi amigo Gabriel. Fue el primero en abrirme los ojos después de años atascado en los Beatles, Stones, Cream (que me siguen gustando lo mismo o más a fecha de hoy, por si acaso) y poco más. Lo descubrí en su casa, y como es un jazz con muchísimos elementos progresivos, muy ecléctico y colorido, con moogs y rhodes a todo tren,  fue relativamente fácil para mi conectar con el, y entusiasmarme enseguida. Por supuesto, me lo llevé grabado en mi cinta cassette, guardándolo como un tesoro durante el trayecto en bus, y no pudiendo esperar el instante de llegar a casa para escucharlo unas diez veces seguidas, como mínimo.

Este disco, que fue el causante de mi primer idilio con el jazz, es el cuarto álbum de estudio de Weather Report, producido por Joe Zawinul y Wayne Shorter. La banda cumplía tres años de existencia, y se encontraba ante unas circunstancias que pedían cambios sustanciales: los miembros fundadores reemplazaron a Miroslav Vitous (que en este disco interviene solamente en un tema) por Alphonso Johnson.  También se incorporaron a la plantilla Ismael Wilburn, - reemplazando a Greg Errico, que decidió no continuar en la banda - y el percusionista Dom Um Romao. Estos cambios significaron una mayor inclusión del bajo eléctrico y de armonías propias del rock, funk y el  R&B. Lo que perseguían era sobre todo lograr un mayor sonido funk, cosa que consiguieron al introducir a Alphonso Johnson en la banda. Con esta nueva formación, y con Mysterious Traveller, Weather Report logra consolidarse como una de las mas grandes bandas de jazz rock de la década.

Si hay una frase que me parece apropiada para definir este disco, es una del propio Zawinul: "La música es la banda sonora de tu imaginación". No se si esto es aplicable a toda la música, creo que no, pero para esta en concreto, si, y mucho. Cada tema es como un viaje. El titulo insinúa una situación, y la imaginación, guiada por la música, hace el resto.



El disco comienza con un falso directo: Nubian Sundance. En el se oyen ovaciones de un público que  en realidad no existe, ya que el tema fue grabado en estudio. Pero entre eso y la conjunción de dos baterías y dos percusionistas que crean un continuum ritmico sobre el que se despliegan los sintetizadores, el Rhodes, y los coros, se produce un poderoso efecto de danza tribal, con exquisitas pinceladas jazzisticas. Me recuerda a ciertos temas de Oumou Sangaré,- la Aretha Franklin  maliense,- basados en ritmos circulares e hipnóticos, semejantes a danzas rituales de guerra, de cortejo o chamanicas.

El segundo tema, el único en el que interviene Miroslav Vitous, American Tango, no recuerda en nada a un tango, salvo quizás en la cadencia, ni suena especialmente americano ( el cortísimo solo de Shorter suena más bien afro.)

Cucumber Slumber, ( el sueño de un pepino) nos deja perplejos acerca de su significado, pero si que tiene una potente base rítmica con una linea de bajo que parece querer anticiparse a Jaco. Lo curioso es que de este tema algunos raperos sacaron loops, lo que originó acciones legales.

El tema que da nombre al disco, Mysterious Traveller está cargado de intriga y misterio, y uno puede imaginar a un inquietante personaje que viaja no se sabe adonde ni por qué. Resulta que este viajero misterioso es un cometa, según palabras del propio Zawinul.


El tema siguiente, Blackthorn Rose, es un maravilloso dúo acústico entre los  lideres de la banda, Shorter y Zawinul.

Scarlet Woman, tal vez una prostituta que se pasea en la niebla  nocturna, en busca de clientes... tal vez una astuta agente secreta? No: el tema está dedicado a la mujer de un místico luciferino, Aleister Crowley. En todo caso, la música indica que se trata de un personaje bastante misterioso.

Por ultimo, obra enteramente de Zawinul, Jungle Book... la vida secreta de la jungla, tal vez contada por el mismo Mowgli?  Sería apasionante. 

Todo esto y mucho más encontrarán en Mysterious Traveller.  




termino ofreciéndoles la reseña del álbum extraída de una página web dedicada a Weather Report:

OVERVIEW

Mysterious Traveller was another step, somewhere else,” Zawinul once said. [RS282] Indeed, it was. WithMysterious Traveller, the transition that began on Sweetnighter was completed. Zawinul summarizedMysterious Traveller for Greg Armbruster of Keyboard magazine:
“That fourth album was a breakthrough for us … I wrote my compositions right here in my home. The first pieces I wrote in this house were ‘Jungle Book,’ ‘Nubian Sundance,’ and ‘American Tango.’ Wayne wrote beautiful music for this album too, and it was a hell of a record. That’s when we made the change with the bassist. Sure, we had three albums out, and the third album did sell much better than the first two, but the recording company was not all that interested. They knew they had a prestige band and had faith in us, because we won Record of the Year awards in different countries, and so on. However, at that time, they didn’t know what to do with us. Mysterious Traveller was another kind of story. All of a sudden we were a power band. I feel that when we came up, musically we were the top band; but there were other bands that had a lot of power, like [guitarist] John McLaughlin’s Mahavishnu Orchestra. There was a beautiful band. They had a lot of power but they ran out of gas because there was not that much there to sustain it. We were not in a hurry to do that, because we knew we were going to have a lot of stuff up our sleeves that we could stretch out with, and have room to do new things we hadn’t done before.” [KB84]
Was there a temptation to add a guitar player, like other fusion bands of the time? “There is a certain chemistry in the band which would be destroyed by adding another melodic instrument,” Zawinul said in 1973. “We would all have to hold back more so as not to get in each other’s way. In order to make good music you can’t have everybody just burn all the time… you’ve got to be relating… and the more people you’ve got, the harder it is to relate. Actually, I just haven’t found a guitar player that I’d like to have in my group, if you know what I mean.” [RS73]
The title Mysterious Traveller, Shorter explained, “meant that comet Kohoutek [the overhyped celestial event of 1973/74], which was a mysterious visitor–so we had that cover of a comet over Madagascar. It was a mystery about where was it born, and that means our life too, here we are: all mysterious travelers. The title also came from a radio show that came on every Friday when I was growing up: this guy got on a train and told you a story.” [JT02]
Down Beat writer Tim Logan interviewed Shorter during the recording of Mysterious Traveller, at which point the saxophonist had this to say about the new album: “As I hear it, working on it, it’s beginning to mean many more things than the other three [albums]. It’s more kaleidoscopic. In many ways, there’s more of a tendency to share something in this album, rather than to show something. There’s a kind of allness, a spirit of sharing, in this one which includes everybody in the group.” [DB74a]
As Zawinul alluded to Greg Armbruster, in-home studio technology had developed to the point that he was able to do multi-track improvisations at home. “I’m an improvising musician,” Zawinul once said, “so what I play I write down note for note and edit later. The Mysterious Traveller album was the beginning of this.” [DB84] In 1978 Zawinul explained his composing technique to Down Beat‘s Conrad Silvert:
“I rarely sit down and compose. I just turn on the tape recorder and play my instrument, and when a moment of inspiration comes I keep playing, and transcribe from the tape later on. You don’t concentrate on one little element or another; just open up and let it all come through you. A modern man is one who is involved with many things, and everything that has happened in your life is already recorded in your brain. It’s just a matter or hittin’ those little inputs, those switches, certain feelings.”
Zawinul’s method, roughly, is to improvise first, and then edit the transcription into a workable length. Then comes the translation into parts for saxophone, bass, etc.; the overdubs, substitutions, tempo alterations continue until the musical poem, so to speak, is finally completed. “The improvisation and the composition are usually the same thing. In concert we don’t change the music from the records too often, although we’re always sure to improvise something totally new each night, like an interlude, some free playing.”

Mysterious Traveller marked the end of co-founder Miroslav Vitous’ tenure with the band, an inevitable result as Zawinul moved the band toward more funky, grooving rhythms. Drummer Greg Errico, a founding member of Sly and the Family Stone who toured with Weather Report after Sweetnighter, explained things this way: “[Miroslav] loved funk, and he tried to play it, but he wasn’t a funk player. It wasn’t where he came from. He didn’t connect up with how to go there. He could listen to it, talk about it, and he admired it, but that’s not what came out of him, so that was something that held back where Joe wanted to go at the time I was with them. Melodically and rhythmically, Miroslav was great; what he did do, in terms of where I was coming from, was very unique. Miroslav was still playing acoustic, and it was an odd kind of a funk. It was very… interesting!” [IASW]
Replacing Vitous was Alphonso Johnson, who was then part of the Chuck Mangione Group. Johnson explained to Down Beat, “I met Weather Report at a gig that we [the Chuck Mangione Group] and they did together in Philadelphia [Johnson’s hometown], the night before we went to London [in October 1973]. Joe Zawinul liked the way I played and when we got back to the States, I flew out to L.A. to audition for the band.” [DB74a] After the audition, Johnson was asked to play on Mysterious Traveller and to join the band.
“When we hired Alphonso Johnson,” Zawinul said in 1978, “it was a great improvement because he could play a lot of different things; he could play funky. Not that we were looking forward to playing all kinds of funky music, but he had that drive, man–that basic kind of feeling where you can groove.” [BAM78]“Alphonso Johnson had a lot,” Zawinul recalled years later. “He was young, he was bright, he was disciplined and he could lay down a groove that hurt and that’s what I wanted.” [JR, p. 171-172] “When we first heard Alphonso,” Shorter recalled in 1983, “he had a very mature style and we didn’t want to touch it, so we wrote it into the music.”[BAM83]
Vitous ultimately accepted that he could not and should not be a part of the band’s new direction. Years later, he told Shorter biographer Michelle Mercer, “Number one, I couldn’t play the black funk, and number two, I was not supposed to. I am an innovator and a pioneer and an advanced musician, and I am right on the edge of developing new music. How can you put me in a black funk band trying to make some money? It’s not me.” [FP, page 161] But there was also the business side of things: He, Wayne and Zawinul were equal partners in Shoviza Productions, the corporation that produced each of Weather Report’s first three studio albums. (The name derives from the founders’ names, Sho-rter, Vi-tous, Za-winul.) Initially cut out of the business as well as the music, Vitous eventually threatened legal action over royalties and the use of the band name, resulting in monthly payments for a period of years. [FP, page 161]
Not long after Mysterious Traveller was released, Down Beat writer Ray Townley suggested that Mysterious Traveller was “earthier” and warmer than previous albums, and asked Zawinul how he saw the difference in bass players:
Well [long pause], there was something that Miroslav couldn’t provide us with. The warmer, earthier feeling has a lot to do with the bass. That is something we tried to have pretty much from the beginning, and not to have it was alright, too, because it added something else at the time.
Miroslav is a fantastic bass player, too, but there’s a certain cultural experience that if you don’t get it early in your life you have to get it later, but you cannot do without. And that is something that is here in this country only. You cannot learn it in Prague or in Vienna or in Tokyo, nowhere. You see what I’m saying? Miroslav does not have a bass player’s mind. He no longer plays bass because of that. He’s gonna do some other kind of things. He’s writing a lot. And he had an instrument built with guitar and bass on two necks. I’m convinced he’s gonna come up with some very valuable stuff, but as far as working with this band and growing with this band, he couldn’t provide us with that, unfortunately.
There was something he had that Al doesn’t have, but there’s a lot that Al has for this band which is very, very important: a base. Everything has to have a base, a root, a bottom; you cannot play, man, without a bottom. And Miroslav was traveling in high speed, with great dexterity and all that, but his mind was changing that quickly and that doesn’t set things up right. This is just a concept, it has nothing to do with someone being any better than anyone else. But I think the band has been much more successful… I don’t even care that much about all the success, but just from the standpoint of getting the music across, there’s a certain discipline required. Like the Catalonian painter, Miro says, ‘If you want to make a big jump, you have to have your feet firmly on the ground.’
We are actually freer now, because we have a certain… we don’t fly away, we don’t take off. So we can allow ourselves to move around a little. [DB75a]
With Johnson more than capably filling the bass chair, the remaining problem was the drums. Greg Errico, the former drummer for Sly And The Family Stone, toured with the band after Sweetnighter, but he declined an invitation to sign on as a permanent member. Thus Zawinul and Shorter turned to Ishmael Wilburn, who was recruited by Vitous according to a 1978 article. [BAM78] Until 2000, Wilburn had no other recording credits in the All Music Guide. However, it appears that he remains active in the Philadelphia area music scene. Joining Wilburn on “Nubian Sundance” and “Mysterious Traveller” was a second drummer, Skip Hadden. In addition to playing drums with various ensembles and well-known jazzmen, Hadden is a professor of percussion at the Berklee College of Music in Boston, and has authored several books on drumming. His web site is http://www.skiphadden.com.
While Zawinul had used the synthesizer sparingly on I Sing The Body Electric and Sweetnighter, the instrument played a prominent role on Mysterious Traveller, establishing Zawinul as one of the premier practitioners of the instrument. He his credited with playing synthesizer on four cuts. Curiously, the only brand name that is specifically mentioned on the album’s inner sleeve liner notes is EML. Electronic Music Laboratories, Inc. was a small firm in Connecticut that manufactured the line of Electro-Comp synthesizers throughout the 1970s. Based on the liner notes, we must conclude that Zawinul had one of these synthesizers and used it on “Cucumber Slumber.”
Nevertheless, it was the ARP 2600 that was Zawinul’s main synth. He acquired one in 1972–see the I Singpage for information about Zawinul’s first experiences with the 2600–but it was initially relegated to studio use. For the road, Zawinul used a Rhodes electric piano and a Farfisa organ. That changed in 1972 or 1973. “We were doing a New York club gig and he said he’s got the synth,” recalled Brian Risner, Zawinul’s first keyboard technician. “Why doesn’t he bring it down and see if we can use it? And that was it. It never went back!” [IASW, p. 236]
By 1974 Zawinul owned two 2600s. The initial rationale was to have a back-up in case one broke down, but Zawinul soon had Risner figure out how to connect them together so he could play them both at the same time. He explained how he used the 2600s to Ray Townley of Down Beat magazine:
I use two ARPs, two 2600s, just for the convenience of setting things up because they’re not as fast as the Moog. [The Moog Mini-Moog was a popular synthesizer at the time, played by Chick Corea and Jan Hammer, among others.] You have to constantly move, therefore I use two. I can work better that way. Certain sounds are already setup and I can stop mixing them up. I also play the Fender Rhodes with all the relatives, you know, phase-shifter, echoplex, way-way pedal.
I like the ARP because of what I can do with it. I hear the Moog, it’s immediately the Moog. With the ARP I can do things that will fool the heck out of you. I can hide between voices, I can do all kinds of things. To me it’s a much more natural sound. The variety of colors is greater, too. Woodwind sounds . . . if you have the right ear, you can really get it. But it takes time and work–like if you’ve got the coordinations of a fighter, getting those combinations together–it’s the same here, you get your moves together so that you can perform with it. [DB75a]
By “moves,” Zawinul was referring to the need to swiftly and accurately change the settings on the 2600s during a live concert performance in order to modify their sound character. This was necessary because the 2600s, like other synthesizers of the time, had no way to save the settings for a particular sound. With the 2600, the sounds were programmed by moving sliders and changing patch cords. The Mini-Moog had a simpler, fixed architecture that relied on knobs. Eventually Alan Howarth, Zawinul’s second keyboard technician, modified the 2600s by hard-wiring Zawinul’s favorite patches into them–thereby eliminating the need for patch cords–and adding switches to the front panels so Zawinul could change oscillator waveforms with the flick of a switch. [IASW, p. 238]
Townley asked Zawinul if he approached the synthesizer mainly as a keyboard or electronic instrument. “I’m not really thinking like that,” Zawinul replied. “I don’t read books about it because I would get completely confused and it would take me so long. I just find what I want to hear by doing it and coordinating it. Sometimes, if I make a funny move with my left-hand–because out there on the stage everything happens so quickly–and make some sound that I didn’t intend, my right-hand will make something out of that other sound. One hand washes the other. As far as melodic concept, I think it has nothing to do with the synthesizer. It’s just a matter of certain people having different concepts.” [DB75a]

ARP Instruments advertisement, circa 1975-76.
In the ARP endorsement ad pictured above, Zawinul commented:
I want orchestral sounds from a synthesizer; the kind of realism beyond imitation. I can make the 2600 sound like Coltrane, just like Coltrane… or change it to soft, haunting flutes. My first 2600, ‘Eins,’ is my soft synthesizer, with a clear, clean sound I have never heard on any other. ‘Zwei,’ my second 2600, gives me a harder edge, so they are complementary.
Our sound engineer, Brian Risner, has built an unbelievable sound system for my ARPs. I run each 2600 through its own Echoplex and phase shifter and get a brilliant sound. I don’t like studio overdubbing, I hardly every do it, so it’s easy to make my music sound exactly as it has been recorded. Having two ARPs lets me play one keyboard while I set the controls on the other. Lately, I’ve been inverting the keyboard, which is like playing upside down with my right hand, while I play rightside up chords with my left. It’s a real head trip.
I have my own “magic book” of sounds I’ve created on the 2600. Melody lines from “Black Market,” “Scarlet Woman,” and lots of music and sound effects from other albums I’ve done. I tape some nice stuff just playing around. With the 2600, you never have to listen to the same sound twice, if you don’t want to.” [ARP]

SIDE ONE

1. NUBIAN SUNDANCE (ZAWINUL) 10:39

Josef Zawinul:Vocal, pianos, synthesizer, percussion
Ishmael Wilburn:Drums
Skip HaddenDrums
Dom Um Romão:Percussion
Muruga:Percussion
Wayne Shorter:Tenor and soprano saxophone
Alphonso Johnson:Bass
Edna Write:Vocalist
Marti McCall:Vocalist
Jessica Smith:Vocalist
James Gilstrap:Vocalist
Billie Barnum:Vocalist
Zawinul told Jazz Forum magazine, “‘Nubian Sundance’ is a complete improvisation of mine which I taped at home. Then I took the music from the tape and orchestrated it. So, as a matter of fact, you have an improvisation which was worked over later in such a manner that you never lose this feeling of purity–this remains an inspiration.” [JF76]
He told journalist Conrad Silvert, “I ain’t scared of Beethoven or nobody when it comes to composing. I wrote ‘Nubian Sundance’ in ten minutes, and it’s a smoker–every bassline, every statement was originally improvised.” Zawinul went on to describe the piece at length: “It was originally a 22-page score written down from my improvisation. I had just moved to California, and my parents were visiting, so it was a good time to compose. The music isn’t about Nubia, really–it’s a wedding dance. You can hear the man’s voice calling Godinia, and later on she calls him, Accru. And then you hear the people cheering and applauding, that’s like a toast, a certain ritual. The moral of the story is that if you meet the right person in your life, you always know from the very beginning.” [DB78b]

2. AMERICAN TANGO (ZAWINUL/VITOUS) 3:39

Wayne Shorter:Tenor and soprano saxophone
Auger James Adderley:Vocal
Josef Zawinul:Rhodes piano and synthesizer
Miroslav Vitous:Bass
Alphonso Johnson:Bass
Ishmael Wilburn:Drums
Dom Um Romão:Percussion
“‘American Tango’ was improvised in the studio,” Zawinul told Jazz Forum magazine. “Mirsoslav Vitous had a little background but no melody to go with it. After some time, we began to feel a little frustrated. Now, I remembered a melody I had written long time ago. I added it to Miroslav’s background and, in the studio, we improvised on it. This is the origin of ‘American Tango.'” [JF76]

3. CUCUMBER SLUMBER (ZAWINUL/JOHNSON) 8:20

Josef Zawinul:Electric piano and EML synthesizer
Wayne Shorter:Soprano and tenor saxophone
Alphonso Johnson:Bass
Ishmael Wilburn:Drums
Dom Um Romão:Percussion
Ray Barretto:Percussion
“‘Cucumber Slumber’ was a jam,” Johnson told Zawinul biographer Brian Glasser. “We were recording in a studio in Connecticut, and I just came up with [sings the famous bassline]. All of a sudden, the drummer started playing, and it just took off from there. It was a total improvised jam. I’d have to say it was one of the best tracks for me. Not just because of that bassline–that was a stroke of luck–but when I listen to Wayne and Joe’s solos, they’re like, the perfect solos. Every note, all the phrasing, is just perfect, and I marvel at that. Even now I listen to that track and I go, ‘God, how’d they do that?'” [IASW, p. 164]
“I’ll let you in on a little secret, Johnson continued. “We kind of knew the three sections we’d done, and we were doing another take of it. At one point, Joe’s playing, and I went to what you might call the bridge and I looked over and Joe’s headphones had fallen off, so he was still playing the previous section. Then all of a sudden his radar went up and he just shifted gear, and it was brilliant, really amazing. It’s still there, if you listen, because when they mixed the record back then, the big thing was quadraphonic sound, so they couldn’t lose it.” [IASW, p. 164]
“Cucumber Slumber” has been extensively sampled by rappers in the late 1980s and 1990s, a practice that often included no remuneration to the original artist. This led to some legal action, which was the subject of a 1992 article by Fred Shuster, which talked about a recent Federal court decision which determined that unless authorization is given by the copyright owner of the original material, the resulting new recording is against the law. In the article, Zawinul said the first responsibility of an artist is to give credit where credit is due:
“If you steal something, steal it and play it yourself,” Zawinul said. “In the case of sampling, some type of money should be paid depending on what is being used.”
Rapper M.C. 100 Ft. Jesus appropriated 16 measures of the Weather Report tune “Cucumber Slumber” for the track “Truth Is Out of Style,” Zawinul said, “and they never even got in touch with us.”
Maureen Woods, owner of Mizmo Enterprises, which administrates Zawinul’s music publishing, said that her company had contacted I.R.S. Records, which represents M.C. 100 Ft. Jesus, but that there had been no reply so far.
“Usually, you work out something to do with royalties or a fee or something,” Woods said. “If worse comes to worst, you go to court.” [LADN92]

SIDE TWO

4. MYSTERIOUS TRAVELLER (SHORTER) 7:21

Wayne Shorter:Tac piano, soprano saxophone, tenor, sea shell
Josef Zawinul:Rhodes piano
Alphonso Johnson:Bass
Ishmael Wilburn:Drums
Skip Hadden:Drums
Dom Um Romão:Percussion
In Glasser’s book, In A Silent Way, Zawinul says, “This was one of Wayne’s tunes, which I arranged. The end of it I more or less put together. We just played the wonderful keyboard line with that rhythm at the beginning, and Wayne is very particular about his writing–everything is written out. We practiced this tune very hard. I felt now when it’s happening there should be a little more, so we just carried on and built it up a little bit.” [IASW, p. 163]
Alphonso Johnson told Glasser, “There were two distinct drummers [on this track], one of whom was Skip Hadden, who played a kind of swing beat against Ishmael Wilburn, who played a straight-ahead rock/funk beat. It was the combination of the two drums that came up with that pattern. It was too complicated to explain to get one drummer to play that way. I think they lucked out because they had the drummers play separate, and when they brought the tracks together it worked perfectly. It wasn’t like anybody had planned that pattern.” [IASW, p. 163]
For “Mysterious Traveller,” Zawinul took advantage of Risner’s modifications to the ARP 2600s so that he could create a much fuller sound. “What I always liked about them,” Zawinul once recalled, “was the way they were coupled together, so that I had six oscillators instead of three. On ‘Scarlet Woman,’ the melody chords would have been impossible to play without coupling the 2600s and detuning the oscillators.”[KB84]
“Mysterious Traveller” also appears on the Weather Report compilation album This Is Jazz, Vol. 10 and various artists compilation Meltdown: The Birth of Fusion.

5. BLACKTHORN ROSE (SHORTER) 5:00

Wayne Shorter:Soprano saxophone
Josef Zawinul:Acoustic piano, melodica
“‘Blackthorn Rose’ has something to do with elves and fairies,” Shorter explained in 2005. “There’s a book that talks about the Blackthorn Rose fairy who was very, very beautiful. This fairy was under some bushes that had thorns. If you don’t see the thorns, you’ll get all cut up. Don’t mess with the Blackthorn Rose fairy.” [FT06, page 51]

6. SCARLET WOMAN (JOHNSON/SHORTER/ZAWINUL) 5:43

Wayne Shorter:Soprano saxophone
Alphonso Johnson:Bass
Josef Zawinul:Rhodes piano, synthesizer
Dom Um Romão:Percussion, drums
Steve Little:Timpani
Zawinul described the creation of “Scarlet Woman” in 1976: “‘Scarlet Woman’ was conceived this way: Al Johnson brought the melody in, the first melody (sings it). That’s the only thing he brought in. I put in the harmony, the bridge and I arranged it, and Wayne Shorter played the beautiful solo on it. So we just created it out of this first line. In my mind I could see the Himalayas, the mountain; and the great Welsch writer, Aleister Crowley, he called his wife ‘Scarlet Woman.’ He was in Tibet a lot, so I felt this kind of atmosphere. I saw people trekking, camels, shepherds, man, I saw the shepherds.” [BE76]
Another description from a 1978 interview: “The atmosphere of this tune was set in the title. I was reading a book by Aliester Crowley, a famous Welsh mystic, and also a famous mountain climber. He was talking about being in Nepal, up on a mountain cliff in the Himalayas with his wife, whome he called ‘the scarlet woman.’ We have the cold wind in the beginning to set this atmosphere. Mystic. He called himself 6-6-6, the reincarnation of the devil. He was talking about the fourth dimension and all of this.” [BAM78]
Wayne put it simply: “[T]he three of us got together and collaborated on that, that’s why it came out with three different dimensions.” [JT02]
Alphonso Johnson told Glasser, “‘Scarlet Woman’ was a song that I wrote, and I’d conceived it totally differently to the way it turned out! Joe, in his infinite wisdom–and Wayne too, actually–he was the one who said a lot of times, when he was with Miles, he would bring in a chart and Miles would just play the intro, and that became a great song. So that’s kind of what they did: they took that [sings descending four-note melody], and they eliminated the other three-fourths of my song. I like their version better. I’ve never even recorded the rest of the song. What they did was perfect.” [IASW]

7. JUNGLE BOOK (ZAWINUL) 7:22

Josef Zawinul:Vocal, piano, guitar, clay drum, tamboura, tac piano, kalimba,
 maracas, organ
Don Ashworth:Ocarinas and woodwinds
Isacoff:Tabla, finger cymbals
Dom Um Romão:Triangle, tambourine, cabassa
“Jungle Book” was an improvisation that Zawinul recorded in his home studio. “It’s taken over on the record exactly the way I played it at home for the first time!,” Zawinul told Jurn Solothurnmann for Jazz Forum. “This is an improvisation which I could never reproduce in that way! Later, I overdubbed various instruments, but the main tape is from hime, with the laughing and crying of my children. I recorded it just with a cassette tape recorder, an improvisation from the first to the last note. It’s my favorite piece, not because of structural or suchlike reasons but because it’s nearest to this higher energy source!”
“The piano was slightly out of tune. You know, my piano is unique, as also is my house, for recordings. It happened in a big room with almost no furniture because we had just moved. While playing, my youngest son always bugged me: he wanted me to read to him from the ‘Jungle Book.’ I didn’t respond and he started crying. Later on, I went to the studio and cleaned out the tape a little bit. And then I made many overdubbings with instruments I play myself: the kalimba, the guitar, the tabla, the sitar and many more.” [JF76]
Que lo disfruten! 

 el Canario
                                                                                                      



                              

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Ideario del arte y política cabezona

Ideario del arte y política cabezona

Autonautas de la Cosmoogpista...


Este espacio fue gestado con la intención de compartir sonidos, melodías que nos conmueven día a día, que nos reciben al abrir los ojos, quizás para muchos el primer contacto con la realidad, antes que un mate o un desayuno como la gente. Estos sonidos nos causan extremo placer y por eso queremos convidarles un poquito, para juntos escapar a la dominación del hemisferio izquierdo.
Pasen, vean, lleven lo que gusten. Pero si tienen la posibilidad de hacerse con el material tangible, no lo duden, es la forma que tenemos de colaborar con los artistas para que sigan creando.
Sí alguna persona o ente se siente ofendido por encontrar material en este sitio le rogamos nos lo haga saber, todavía creemos en las palabras.
Si por alguna razón no pueden leer estas lineas, usted ya no es, usted ya no existe, usted tiene un moog en la cabeza.


Aclaración...

Este espacio se reserva el derecho de publicar sobre cualquier tema que parezca interesante a su staff, no solamente referidos a la cuestión musical sino también a lo político y social.
Si no estás de acuerdo con lo expresado podrás dejar tu comentario siempre que no sea ofensivo, discriminador o violento...

Y no te confundas, no nos interesa la piratería, lo nuestro es simplemente desobediencia civil y resistencia cultural a favor del libre acceso al conocimiento (nuestra música es, entre otras tantas cosas, conocimiento).

Información y estadísticas









Lo más visto de la semana pasada

Hawkwind - All Aboard The Skylark (2019)

Ya presentamos a Hawkwind en el blog cabezón, ese delirante y salvaje grupo del que saliera, entre otros, un jovencísimo Lemmy Kilmister. Incondicionales del rock espacial desde hace 50 años, mixturando punk, garage, rock espacial, rock psicodélico para crear sonidos de una fiesta interplanetaria con bastante adrenalina de a momentos, pero también con otros de inclinaciones acústicas.  Un disquito donde tendrán muchas cosas del viejo Hawkwind pero embebidas en el presente, detrás de esa vital energía multicolor que los hiciera conocidos. Los vibrantes sintetizadores y la atmósfera astral a veces reemplazados por suaves pasajes, pero todavía suenan como una especie de repertorio de sonidos asombrosos. Aquí, lo último de Hawkwind, y aclaro que con él volvemos a la sección de los discos que amas o que odias sin términos medios.

Artista: Hawkwind
Álbum: All Aboard The Skylark
Año: 2019
Género: Rock psicodélico / Space rock
Nacionalidad: Inglaterra



Cincuenta años después, solo Dave Brock siga en…

Black Sabbath - Sabotage (1975)

Hoy empezamos el día con el que es quizás el album más heavy de los Sabbath. En una memorable reseña de nuestro nuevo colaborador y miembro del staff, el señor Andersen hace su entrada triunfal en el bloog cabezón con un comentario imperdible (y que esto sirva para darle la bienvenida al staff). Con ustedes, el último gran álbum de los primeros Sabbath: Tony Iommi, Ozzy Osbourne, Geezer Butler, Bill Ward y Gerald Woodruffe para un disco que es un clásico con tapa horripilante.Y el señor Andersen dice: "Una obra que escapa a cualquier definición, y se encuentra en esa zona gris, en esa mitad de camino, que legó para la historia los mejores discos del género". Creo que es una excelente forma de comenzar con la aparición de "Sabotage" en el blog cabezón.

Artista: Black Sabbath
Álbum: Sabotage
Año: 1975
Género: Hard rock
Duración: 43.38
Nacionalidad: Inglaterra



Aquí, las líneas del señor Andersen recreando este disco pero desde una perspectiva personal y bien argenta...
Bla…

Ñoquis Chetos en Chile: Los Saqueos de la Élite

En consonancia con nuestro reciente posteo sobre los choriplaneros amarillos VIP, veamos qué es lo que pasa también con nuestros hermanos trasandinos que tan bien están luchando contra un sistema deshumanizado y corrupto. Y ahora, que según se ha publicado en diferentes medios, varios países europeos asesorarán a los cuerpos policiales antidisturbios chilenos (como si ello hiciera falta ¿acaso no les alcanza la violencia de su tremenda represión contra su propio pueblo?) ante la revolución (ellos la llaman crisis) que vive Chile, que supera los cuarenta días, entonces nosotros recordamos un poquito el porqué de esta crisis. Aquí, una nota sobre la corrupción neoliberal que originó todo el desastre que desespera y atormenta al pueblo chileno.


Por Pablo Carvacho y Amalia Valdés
De acuerdo a cifras estimadas por el mismo Núcleo de Investigación, entre la colusión de pollos (1996-2011), la colusión de papel higiénico (2000-2011) y la de farmacias (2007-2008), suman 1.687 millones de dólares…

Epumer - Machi - Judurcha / Malosetti & La Colonia

Sábado 7/12/2019 - 21:00 hs.
Por primera vez juntos, dos bandas unidas por la música y la amistad

Auditorio Belgrano
Virrey Loreto 2348, 1426 Buenos Aires

Evento en Facebook


Gordian Knot - Emergent (2002)

Integran este proyecto Sean Malone (líder de este proyecto y bajista de ese notable proyecto llamado Cynic), Steve Hackett, Bill Bruford y otras bestias. Los otros días yo estaba pensando que había que traer a Gordian Knot al blog cabezón, un proyecto por demás interesante, sabroso, virtuoso pero de gran sensibilidad. Y resulta que el Mago Alberto me leyó la mente y me ganó de mano, aquí hay música de muy alto vuelo, un tecno-prog impecable. Pero ojo que esto, más que un grupo, es el proyecto del extraordinario bajista Sean Malone, quien ha reunido a excelentes músicos para darle libertad a sus ideas y experimentación, creando una música que suena avanzada, potente, que desconcierta, con muchos cambios de ritmo y donde los principales instrumentos son el bajo, el stick y el warr guitar, con los que se crean pasajes musicales que pasean entre el jazz, el metal y el progresivo. Han pasado por la banda, además de los músicos que intervienen en este disco, Ron Jarzombek (Watchtower y Spas…

Videos de los Viernes: Dr. Faustroll y Porcupine Tree

Y volvemos con nuestros videos de los viernes, esta vez con un interesantísimo proyecto brasilero llamado Dr. Faustroll, y con los vieja y querida tropa de Steven Wilson: Porcupine Tree en vivo. Así nos disponemos a ir cerrando esta semana, otra con grandes discos, sorpresas, novedades y puteadas varias. Como siempre!


Dr. Faustroll - D4T4 (2019)

Hoy Rocío Jazmín apareció con un EP debajo del brazo, y nos dijo: "Gente de bien (creo que se equivocó, esos seguramente no somos nosotros), éste buen muchacho a quién antes le dedicaron una maravillosa reseña (???) sacó nuevo material, realmente bueno. Vale mil escuchadas, y desde ya gracias por divulgar y dar a conocer siempre tan buena música." (y eso es verdad, los temas que le svamos a presentar son temas realmente muy buenos!). Corresponden a su EP "D4T4".
Dr. Faustroll es un proyecto oriundo de São Paulo, Brasil, createdo por el guitarrista Biaggio Vessio. Todas las composiciones son del propio Biaggio Vessio, quien a…

Camel. Nude. Edición Rockarte

El Arte en Tiempos de Conflicto

Chile: "Giant Steps" de John Coltrane interpretado en la primera línea de batalla, donde la fuerza del arte se traduce en un mensaje que viaja a través de las vivencias colectivas, para hablarnos de algo universal, humano, esencial. El rol del arte en la coyuntura actual es el de recordarnos quienes somos, en cuanto seres emocionales, racionales y sociales. De la misma manera, el arte se convierte en un canal a través del cual se transforman las narraciones íntimas en una voz colectiva, que denuncia las situaciones que la sociedad se niega a vivir de nuevo.

Aquí, un claro reflejo...


Pero no el único...





Lito Vitale - 40 Años De Rock Argentino - Escúchame Entre El Ruido Volumen I & II (2006)

Todo disco de Lito Vitale que aparezca en el blog cabezón será bienvenido, pero en este caso se trata de un CD doble con algunos buenos temas del rock argentino interpretado por gente como Pedro Aznar, David Lebon, Baglietto, el Indio Solari, Miguel Cantilo, Gustavo Cerati, Lito Nebbia, León Gieco, Horacio Fontova, Luís Alberto Spinetta y muchos otros, interpretando temas de Charly García, Aquelarre, Vox Dei, La Renga, Los Redondos, Serú Girán, Crucis, el Flaco Spinetta, Moris, Arco Iris, Soda Stereo, Los Abuelos de la Nada, Pappo, Manal, Divididos, Sumo, Calamaro, Gieco, Catupecu Machu y más, entonces estamos hablando de un gran álbum, digno para que lo puedan degustar este fin de semana. El Mago Alberto se zarpa nuevamente y nos ofrece este invalorable aporte que nace de Vitale pero llega mucho más, hasta llegar a tus oídos. Dos discos en uno, y algo que no puede quedar fuera del blog cabezón.

Artista: Lito Vitale
Álbum: 40 Años De Rock Argentino - Escúchame Entre El Ruido
Año: 2006
Gén…

En Búsqueda de Nuevos Símbolos

La rebelión popular contra los genocidas: fiel reflejo de la crisis de un modelo. Una imagen que le hubiese encantado ver al periodista y escritor anarquista Osvaldo Bayer, que tanto ha luchado por la transformación de iconos culturales que fomentan la dependencia y la violencia, un universo de sentidos y símbolos que forman parte de la memoria colectiva: en Punta Arenas, en medio de las protestas en Chile, la escultura de José Menéndez, empresario español a quien se le atribuye la extinción de la etnia Selk'nam, fue también destruida y llevada a los pies de la estatua del Indio Patagón, figura que homenajea a los indígenas que ya habitaban esa zona antes de la llegada de los conquistadores. De manera similar, se han dañado más de 70 monumentos y esculturas Se trata, especialmente, de figuras de la colonización europea y de militares chilenos amigos de acciones criminales (fusilamientos, matanzas, genocidios, usurpaciones y otras bellezas). Y en momentos catárticos, carnavalescos,…

Unordered List

"La desobediencia civil es el derecho imprescriptible de todo ciudadano. No puede renunciar a ella sin dejar de ser un hombre".

Gandhi, Tous les hommes sont frères, Gallimard, 1969, p. 235.

Entradas populares de este blog

Denuncia en Primera Persona. El Desprecio a la Discapacidad

Quizás el rostro más duro y paradigmático de la política se pueda captar con precisión con las personas más vulnerables de la sociedad y el respeto que reciben por parte del poder político. Y esto va mucho más allá de las ideologías: es simple humanidad, o anti-humanidad. Aquí nos deja su mensaje, reclamo y denuncia nuestra amiga cabezona Natalia, quien partiendo de su historia personal, toca la problemática de la precarización laboral existente en el Gobierno de la Ciudad de Buenos Aires en general, y repasando las actuales dificultades para la obtención del Certificado Único de Discapacidad, enfatizando la necesidad del pase a planta permanente de las y los integrantes del colectivo que actualmente se encuentran precarizados. Los datos demuestran que la crisis afecta de manera más significativa a las personas que pertenecen a colectivos que ya venían sufriendo discriminación. Por eso la crisis también ha empeorado las condiciones laborales y sociales de las personas con discapacidad…

NatGeo: Documental de Luis Alberto Spinetta

Para los que no pudieron ver este documental del Flaco, emitido por un canal de cable, aquí lo compartimos, una hermosa biografía de un gran artista. La biopic sobre el artista que falleció en 2012 tuvo varios momentos destacados, con Catarina Spinetta como conductora, la biografía, de casi dos horas, reconstruye la vida y obra de Luis a través del testimonio de los que más lo conocieron: sus familiares, amigos y compañeros de trabajo. Dante comentó: "Mi viejo es inmortal, porque te sigue hablando a través de las canciones y te sigue enseñando". Y como yapa, les damos las coordenadas del mural "Luis Alberto Spinetta" (Grand Bourg, Provincia de Buenos Aires). Y gracias al Mago Alberto por pasar el link...





Esbjorn Svensson Trio - Live In Hamburg (2007)

Artista: Esbjorn Svensson Trio Álbum: Live In Hamburg
Año:2007
Género: Jazz
Duración: 1:58
Nacionalidad: Suecia
Lista de Temas:
1. "Tuesday Wonderland"
2. "The Rube Thing"
3. "Where We Used To Live", 
4. "Eighthundred Streets By Feet"
5. "Definition Of A Dog"
6. "The Goldhearted Miner"
7. "Dolores In A Shoestand"
8. "Sipping On The Solid Ground"
9. "Goldwrap"
10."Behind The Yashmak"
Alineación:
Esbjörn Svensson / Piano
Dan Berglund / Contrabajo
Magnus Öström / Batería
Lino, nuestro cabezón venezolano, se pega una vuelta por el blog y resube este buen disco de jazz contemporáneo. Si te gusta el jazz, no dudes de escuchar este trabajo. Gracias Lino!

Las 100 Mejores Canciones del Prog

Aquí, las 100 mejores canciones de rock progresivo de todos los tiempos, según la revista "Prog". Y aunque habitualmente no le damos bola a la lista de mejores discos o canciones de rock progresivo de la historia ofrecida por algunos portales, webs y demás publicaciones, quizás está bueno darle importancia a la lista que ofrece ahora la revista "Prog" (esa misma que da los premios que mencionamos el otro día) ya que es armada según la opinión de gran parte de su público. En concreto, la revista "Prog" ofrece un total de 100 canciones y la lista la ha elaborado a partir de una encuesta muy trabajada donde han participado tanto lectores como expertoso, artistas y autores de música consultados por la publicación. Una recopilación de lo más compleja que creo merece la pena.

Aquí está la lista de las mejores canciones de rock progresivo del puesto 100 al 1:

100) Inca Roads - Frank Zappa & The Mothers Of Invention
99) The Life Auction - Strawbs
98) In The Ca…

Tool - Fear Inoculum (2019)

Lo presentamos como sorpresa incluso antes de que salga a la calle, gracias a los incomparables aportes del Mago Alberto. Recién salido, ya adelantamos un poco lo que se notaba, Tool aportaba un nuevo / viejo estilo, con los mismos elementos de siempre pero dispuestos de otra manera, lo que generó primero la incógnita, luego la patada en el culo y el desgarro de ropajes de sus seguidores más incondicionales, acérrimos y fanáticos. Pero con un resultado completamente diferentes para aquellos que lo escucharon con las mentes abiertas. En el momento de publicar el disco hablamos aquí de disrrupción. ¿Ocaso? ¿Renacimiento?. En todo caso más bien de alternativa y desafío. Oprobio y quizás nueva gloria. Quizás... Y ahora, más escuchado y con más idea de todo lo que se mueve aquí adentro, le damos una revisión a este disco, que no es ninguna continuación de "Lateralus" (que era lo que todos los fans esperaban). Todo ello igual a lo nuevo de Tool.

Artista: Tool
Álbum: Fear Inoculum
Año…

La Barranca - Eclipse de memoria (2013)

Artista: La Barranca
Álbum: Eclipse de memoria
Año: 2013
Género: Rock poético mexicano
Duración: 45:04
Nacionalidad: México

Lista de Temas:
01. El alma nunca deja de sentir
02. Ante la ley
03. Garzas
04. Flores de invierno
05. En cada movimiento
06. La tercera joya desde el sol
07. El futuro más distante
08. Campos de batalla
09. Sequía
10. Siempre joven
11. El tiempo es olvido


Alineación:
- Federico Fong / bajo, piano, percusión.
- José Manuel Aguilera / voz, guitarras, órgano, charango.
- Adolfo Romero / guitarras.
- Navi Naas / batería.
Invitados;
Enrique Castro / marimba, percusión, piano, kalimba.
Alfonso André / batería.
Cecilia Toussaint / coros.
Yamil Rezc / percusión, juno, batería.
Agustín Bernal / contrabajo.
Darío González / rhodes, mellotron, hammond.
Daniel Zlotnik / sax soprano, sax tenor, flauta, hulusi.
Erick Rodríguez / trombón.
César Barreiro / trompeta.
Magali / piano.
Mónica del Águila Cortés / cello.
Arturo González Viveros / violín.
Erika Ramírez Sánchez / viola.

Y ya p…

Hawkwind - All Aboard The Skylark (2019)

Ya presentamos a Hawkwind en el blog cabezón, ese delirante y salvaje grupo del que saliera, entre otros, un jovencísimo Lemmy Kilmister. Incondicionales del rock espacial desde hace 50 años, mixturando punk, garage, rock espacial, rock psicodélico para crear sonidos de una fiesta interplanetaria con bastante adrenalina de a momentos, pero también con otros de inclinaciones acústicas.  Un disquito donde tendrán muchas cosas del viejo Hawkwind pero embebidas en el presente, detrás de esa vital energía multicolor que los hiciera conocidos. Los vibrantes sintetizadores y la atmósfera astral a veces reemplazados por suaves pasajes, pero todavía suenan como una especie de repertorio de sonidos asombrosos. Aquí, lo último de Hawkwind, y aclaro que con él volvemos a la sección de los discos que amas o que odias sin términos medios.

Artista: Hawkwind
Álbum: All Aboard The Skylark
Año: 2019
Género: Rock psicodélico / Space rock
Nacionalidad: Inglaterra



Cincuenta años después, solo Dave Brock siga en…

Egberto Gismonti & Naná Vasconcelos - Duas Vozes (1985)

Artista: Egberto Gismonti & Naná Vasconcelos Álbum: Duas Vozes
Año: 1985
Género: Jazz Fusión / Latin Jazz
Nacionalidad: Brasil

Lista de Temas:
1. Aquarela do Brasil
2. Rio de Janeiro
3. Tomarapeba
4. Dancando
5. Fogueira
6. Bianca
7. Don Quixote
8. O Dia, À Noite

Alineación:
- Egberto Gismonti / guitar, piano, dilruba, wood flutes, voice
- Naná Vasconcelos / percussion, berimbau, voice



Robert Dimery, Editor - 1001 Albums You Must Hear Before You Die (2006)

Libro de referencia de la música pop aparecida entre 1955 y 2005, abarcando los géneros desde el rock, blues, folk, jazz, pop, electrónica y world music. Las reseñas fueron realizadas por un equipo de unos 90 críticos de distintas latitudes y gustos. El trabajo se basa en discos originales, quedando así por fuera las recopilaciones de varios artistas, quedando excluido así, el mítico álbum de Woodstock. Sin embargo el panorama es muy amplio y uno siempre encontrará artistas que no ha oído.

Editor: Robert Dimery Prefacio: Michael Lydon
Primera Edición: 2005
Cubierta:Jon Wainwright
Género: Catálogo
Páginas: 960
Nacionalidad: EEUU Editorial:Universe Publishing
Reediciones:2008, 2011, 2013 Otros Idiomas: español, portugués, noruego, finés, sueco, y otros.



Presentación del Editor de libros de Amazon.com 

The ultimate compendium of a half century of the best music, now revised and updated.1001 Albums You Must Hear Before You Die is a highly readable list of the best, the most important, and the most in…

La Barranca - Denzura (2002)

Artista: La Barranca
Álbum: Denzura
Año: 2002
Género: Rock alternativo
Nacionalidad: México

Lista de Temas:
01. fascinacion
02. animal en extincion
03. hasta el fin del mundo
04. donde la demasiada luz forma paredes con el polvo
05. la vision
06. no mentalices
07. denzura
08. montana
09. la rosa
10. madreselva
11. minotauro
12. kalenda maya

bonus ep: cielo protector
13. cielo protector
14. rendicion
15. tsunami
16. el agua que cae
17. cielo protector (demo)


Alineación:
- José Manuel Aguilera / guitarra, voz, órgano
- Alejandro Otáloa / guitarra, piano, teclados
- José María Arréola / batería
- Alonso Arréola / bajo, guitarra acústica
Músicos Invitados:
Federico Fong - piano eléctrico (6)
Cecilia Toussaint - voces femenina (2,10)
Marco Antonio Campos - percusiones (2, 4, 9, 10)
Joe D'Etiene - trompeta (8 )
Cherokee Randalph - viola (3, 6, 7)
Mónica del Aguila - chelo (3, 7, 6)
José del Aguila - violín (3, 6, 7)
Arturo González - violín (3, 6, 7)
Eduardo del Aguila - platillo tibetano (1)