#Músicaparaelencierro.Otro discazo de los geniales Tryo, presentado por nuestro querido Neckwringer en donde expondremos una muestra de todo el talento desconocido que anda dando vueltas por nuestras tierras latinoamericanas. Y parte de la música de "Patrimonio" fue compuesta para un video documental destinado a apoyar la nominación de la ciudad de Valparaíso como Patrimonio de la Humanidad, y el resultado es digno de una banda que tiene como idiosincrasia ser una especie de estandarte de la música de cámara librepensadora: "Patrimonio" muestra a una banda que ya ha creado su propio sonido, armando una estructura sonora con sus influencias y ha conquistado su propio y definitivo estilo. Su poder musical es tan asombroso como siempre, y aquí lo demuestran con creces.Artista: Tryo
Álbum: Patrimonio
Año: 1999
Género: Jazz Rock / Fusion / Progresivo ecléctico
Duración: 41:19
Nacionalidad: Chile
Maravilloso disco de estos maravillosos chilenos, plagado de virtuosismo pero sobretodo de buen gusto y búsqueda melódica que lo hacen una delicia a los paladares auditivos. Y no es para menos, Tryo es una de las bandas más importantes, si es que no la más, de la corriente de rock progresivo en Chile.
Con su tercer disco, la banda chilena TRYO logró algo muy importante: madurar su estilo de manera definitiva, yendo más allá de la simple dualidad entre su lado eléctrico y su lado acústico, logrando así introducir una serie de matices sonoros que enriquecen su propuesta y permiten exhibir una especial inventiva en sus composiciones y arreglos. Podemos en cierto modo ver en “Patrimonio” un anticipo de lo que después se perpetuaría y daría de forma aun más madura en su siguiente disco, “Dos Mundos”.César Inca
El disco se inicia con una serie de cuatro temas agrupadas bajo el título colectivo de ‘Valparaíso Patrimonio’: no es una suite en sí, sino más bien una sucesión de diversas imágenes musicales, al modo de una exposición fotográfica que tiene como motivo común los paisajes de la ciudad del título (las secuencias de ruidos urbanos ayudan a darle un sentido unitario a la ilación de estas piezas individuales). A continuación, siguen cuatro temas eléctricos, lo que no quiere decir que se dispare una ebullición rockera frenética sin más. ‘Camino’ es esencialmente un conglomerado de retazos aleatorios, a modo de introducción para el tema que le sigue, ‘Contrastes’, el cual sí se enmarca un poco bajo la vertiente del hard rock sobre un compás de corte funky. ‘Recuadros’ es evidentemente más característico del nervio afilado de los temas más duros de TRYO, un suministro inteligente de potencia a través de cadencias crimsonianas y elementos jazzeros de tipo MAHAVISHNU ORCHESTRA. La misma potencia reaparecerá después con una dosis intensificada en el explosivo ‘Justicia’, el sombrío ‘Grietas’ (a la sazón, el único tema cantado del disco), y el breve tema final, ‘Epilogo’, el cual tira más a lo zeppeliniano para dejar un entusiasta sabor de boca al oyente complacido. Pero antes de conformarme con haber llegado al final, debo señalar que hay más crimsonismo en este disco: de manera curiosa, ‘Estudio’ emerge como un breve etude para trío rockero de algunos modismos propios del KC del “Red”... un tema atractivo, que no se pierde en la trampa del clon. Por su parte [y fuera de KC], ‘Danza del Furor’ es una pieza acústica, de origen académico que sirve como oportuno reposo introspectivo momentáneo antes del vendaval sonoro a ser vertido por los tres últimos números.
Como se puede advertir, “Patrimonio” ofrece un nivel muy interesante de diversidad sonora y versatilidad estilística: TRYO demuestra que un formato tan reducido como el de trío no implica necesariamente un hándicap ante el prospecto de ofrecer una propuesta progresiva rica en colores, matices y niveles de energía. Tal como señalé en un comienzo, ésta es la entrada en la fase creativa que habrá de ser reforzada en su ulterior trabajo “Dos Mundos”: la obra de TRYO sigue siendo, sin duda, una de las más destacadas del movimiento prog latinoamericano, y del mundo entero en general.
Los hermanos Ismael Cortez (guitarra) y Francisco Cortez (bajo, chelo), además de Félix Carbone (batería) trabajaron desde un principio como trío, y su nombre proviene de aquella asociación tripartita. Pulieron una cuidada educación musical e instrumental docta de academia. Ismael Cortez estudió guitarra clásica y Félix Carbone percusión clásica en la Universidad Católica de Santiago, mientras que Francisco Cortez estudió chelo en la Universidad Católica de Valparaíso. Y profesionalizaron su sonido y su trabajo desde el laboratorio y en un circuito de música underground.Y recuerdo cuando los tuvimos tocando en La Plata junto a Baalbek, en el marco del Festival Progresivo que se mandaban por allá todos los años. Y siempre, estos tipos son un ejemplo imponente de calidad, profesionalismo y virtuosismo musical.
Tryo es una banda que escapa a toda comparación desde cualquier punto vista. No obstante, señalar una cercanía con King Crimson no es un pecado. Descargas de tensión, arreglos complejos e impecables pasajes acústicos conforman la "esencia" de esta banda chilena integrada por los hermanos Ismael y Francisco Cortez, en guitarras y bajo/cello, respectivamente, y Félix Carbone, en batería. A este referente se suma un componente extra que marca la diferencia: vanguardia, y que es lo que distingue a esta agrupación viñamarina, junto con su especial destreza interpretativa.Juan Barnechea H.
Con tres álbumes en su discografía, Tryo acudió a la presente versión de "Baja Prog" con el rótulo de "banda desconocida" y con su último trabajo "Patrimonio" (1999) bajo el brazo. Los aplausos tras su impecable presentación en el día inicial no se hicieron esperar, por lo que, incluso, se les catalogó como la revelación del festival, título doblemente valioso considerando la cantidad y calidad de las bandas allí presentes.
La historia de Tryo comienza a escribirse en 1996 con la salida de su álbum homónimo, el cual recopila 9 temas de su andamiaje musical, cercano al rock de vanguardia y que los perfiló como uno de los pioneros de este estilo en Chile. En 1998 llegaría "Crudo", su segunda producción, la cual mezcló actuaciones en vivo y fragmentos acústicos de enorme belleza. "Patrimonio", de 1999, corresponde a su más reciente producción. Elegido como uno de los mejores discos progresivos sudamericanos de ese año, el álbum, donde se alternan temas acústicos con otros clásicos no editados y cinco composiciones nuevas, es un trabajo conceptual que postula a Valparaíso (principal puerto de Chile) como patrimonio de la humanidad ante la UNESCO.
Un espíritu de aventura permanente. Tal vez sea esa la definición que más se acerca al trasfondo de la música de Tryo. Se trata de una búsqueda constante de nuevos horizontes, de fórmulas novedosas, que se refuerzan con esa dualidad electro-acústica mágica que se desprende en cada una de sus producciones. Desde ese punto de vista, es válido decir que nada está escrito o probado con Tryo.
No puedo agregar nada más, salvo que los escuchen si hasta ahora cometieron el pecado de no hacerlo... vamos con algunos comentarios y al disco, que es lo que vale!
Chilean progressive band Tryo's third release Patrimonio is a case where a mixture of many different influences - not the least of which is King Crimson - can somehow result in a whole that is in itself distinct and refreshing. Patrimonio is a well produced, well written example of how good progressive music can sound forward-thinking, rather then a lot of the "retro" direction many of today's bands seem to favor. Wonderfully complex song writing along with some incredibly playing combine to create a CD that should be at the top of every prog fan's wish list. The three instrumentalists that make up Tyro: drummer and percussionist Felix Carbone, guitarist Ismael Cortez, and bassist/cellist Francisco Cortez prove themselves incredibly adept and shifting back and forth between the hard driving fusion rock of tracks like "Grieta" to the more spacey opener "Valparaiso Psicodelico". And just to prove they're versatile, the boys throw away their drums and basses in exchange for a marimba and cello to create the track "Juegos" - a very light and beautiful piece of music that would almost seem out of place if it wasn't so good.www.allaboutjazz.com
The instrumental prowess on the album is top notch; the bass and guitar playing are very reminiscent of Geddy Lee and Alex Lifeson at some points, while invoking the spirits of Tony Levin and Robert Fripp at other times. Tryo shows a maturity and constraint in their compositions by being both complex AND natural at the same time, making sure not to force things like time signature changes and song lengths. As a matter of fact, only one track (the very powerful "Justicia") clocks in at over 6 minutes - proof that good progressive music need not take up 15 or 20 minutes at a time. These guys know what they want to say musically, and get right to the point in their songs avoiding the filler and fluff that tend to plague some of their progressive brethren.
In short, if you want to hear some seriously talented musicians play some seriously well-thought out progressive rock music, look no further than Tryo's Patrimonio. I guarantee that you'll be pleasantly surprised - if more bands like this come out of the South American nation of Chile, I may have to book myself a flight!
These three guys from Chile are playing a fantastic, very original, versatile and energetic progressive rock influenced by many sources, King Crimson being only one of them. Here on their third release they managed to merge these multiple influences to their very own and refreshing style.Dieter Fischer
Like their previous works Patriomonio is an all instrumental album apart of one song and some very average mainly spoken vocals on a few tracks. The first four tracks are movements of the conceptual suite Valparaison Patrimonio about the port of Valparaiso, as a soundtrack for its presentation to the UNESCO to consider this city as an architectural patrimony of the humanity. First part starting with some street noise is a quite spacy piece reminding very much to Ozric Tentacles/Djam Karet in a more smooth way. On this album they're adding again a cello to their usual line-up of electric/ acoustic guitar, bass, and drums what they already experienced successfully on their previous album. The suite is dominated by this instrument throughout along with delicate arrangements and atmospheric pieces. Next track Camino serves as a transition to their usual energetic sound which is presented by the following two songs being again a bit Tentacles-reminiscent mixed with some complex fusion rock. After a short piece with Fripp-ish guitar play and an avantgardistic rendition of an excerpt from Olivier Messiaen's Quartet for the End of Time their sound becomes somewhat harder for the last three tracks which are electric guitar-driven hard fusion rock numbers. This gradual shift towards harder stuff is actually quite enjoyable I have to say.
CONCLUSION: Musicianship on this very well produced album is top notch. Guitar and bass playing are at some points reminiscent of Geddy Lee and Alex Lifeson showing at others the spirit of Tony Levin and Robert Fripp. Patrimonio is an absolute esssential album in any good progrock collection and should not be missed especially by all fans of Ozric Tentacles/Djam Karet. 4 very clear stars!
This is the third album by the Chilean band Tryo, it's from 1999. The first track sounds tight and dynamic featuring a buzzing bass and phased guitar, good swinging and pleasant guitar-oriented rock. Then three tracks that have a warm, folky atmosphere: acoustic guitar, marimba, percussion and an often wailing cello. The second part of this CD concludes with music in the vein of King Crimson, both the dark and compelling "Red"- climates as the 'Nineties-era' featuring a propulsive and dynamic sound with Fripperian guitar work (some howling and biting soli), strong drum beats and powerful bass play. The interplay from the members is amazing but at some moments the compositions tend too sound a bit similar. Nonetheless, this is an interesting band with good musicians.Erik Neuteboom
TRYO are a power trio from Chile who blend Jazz, spacey soundscapes, and flat out heavy Rock music on this recording. There is so much variety on this album, and it did take some time for this to grow on me, but now I love this band. This is complex and enjoyable music that is pretty much all instrumental except for one track.John Davie
The album opens with a four part suite that is about the Port of Valparaiso. It starts off with "Valparaiso Psicodelico" as we hear different sounds from the sea and the city. 1 1/2 minutes in it we get some music as a spacey atmosphere arrives.The bass is prominant in this spacey tune as cello comes in late. "Juegos" opens with samples of children as strummed acoustic guitar and cello lead the way. "Puerto" is another acoustic song as cello, guitar and drums provide the music as the song opens with the sounds of ships and sea gulls. The final song of the suite is "Marina". It opens with the sounds of someone under water. This is another acoustic track. The acoustic guitar melodies are quite intricate and the cello helps fill out the sound. The song ends as it began.
"Camino" is a short spacey song,while "Contrastes" gives us some energy for the first time on this album. An uptempo song that reminds me of RUSH until it veers off to a jazzy direction. Some great guitar and bass follow. "Requadros" continues the jazzy music until we get a heavy passage 2 1/2 minutes in. Nice. "Estudio" is the first song where I hear KING CRIMSON-like sounds. This is one of my favourites on the album, but it's way too short. "Danza Del Furor" consists of cello, guitar and what sounds like xylophone. "Justicia" is my favourite song on this album. This is also the longest track. It has a nice, heavy and melodic soundscape that picks up speed 3 minutes in. What an amazing song ! "Grieta" is another inspiring song that just rocks ! This one has vocals on it with some ripping guitar melodies. "Epilogo" is a short heavy song.
As I said in the beginning this album has some good variety on it, and these guys can play with the best of them. 4 solid stars.
Tryo's third album is certainly a most valuable patrimony from Chile to the world of prog rock: "Patrimonio" shows a band that has already dealt with their influences in a constructive way, and finally conquered their own ultimate voice. The dose of sonic power in this album's repertoire is not as directly overwhelming as in their impressive debut recording, yet it would be inaccurate to state that their sound is less strong or less energetic. On the contrary, their musical power is as astounding as always: only the threesome have grown wiser through the years, and this fact led them to incorporate a wider array of musical sources in a most coherent and skillful manner. As a living proof for this, the listener is first offered the four part suite 'Valparaiso Patrimonio' that kicks off the album: starting with a predominant jazz-pop mood in track 1, the next three combine the academic exquisiteness of chamber music and the special magic of Latin American folklore. Basically, the trio's main intention here is explore more meticulously into their acoustic sensibility in order to polish their skill and finesse. and the result is unequivocal - they succeeded at that! More of this comes later in 'Danza del Furor', an incredibly delicate tour- de-force of cello, guitar and vibes. This somewhat softened attitude is soon abandoned in favor of the elaboration of density, tension and electric fire: 'Camino' is a brief ad-lib soundscape of guitar, bass and cymbals that serves as a prelude to the up tempo ambience of 'Contrastes', a compromise of hard rock and funky-driven jazz with a slight Crimsonian twist. It's such a pity that this good piece is so short (it only lasts 2 minutes and a half, actually shorter than the previous number). But that's not the problem with the following track, the much stronger 'Recuadros', which in my opinion stands out as the most brilliant gem in the album: this piece shows how well has the band's renewed exquisiteness has served in order to allow the band develop their own prog voice regarding their electric facet. The same goes for 'Estudio' (again, so good and too short), 'Justicia', 'Grietas', and the Led Zep-esque concise closure aptly entitled 'Epílogo'. Overall balance: an excellent prog rock repertoire split between the heat of rock, oiled by the clever dexterity of jazz, and the candid beauty of acoustic sensibility, seasoned by chamber stuff. "Patrimonio" must be enjoyed as what it is, a manifesto of artistic maturity, a maturity soon to be confirmed and enhanced in their following album "Dos Mundos" - but that's another story.César Inca
Otro increíble disco de una de las bandas latinoamericanas más destacadas y que, repito, pronto la podremos ver en acción aquí cerquita, en La Plata, con un disco que nos expresa mucho en cada composición, y más allá del virtuosismo y la versatilidad. UN DISCO IMPERDIBLE.
Ultra recomendado! Vamos a traer más de esta maravillosa banda la semana que viene, salvo que alguien se oponga...
Lista de Temas:
1. Valparaiso psicodelico
2. Juegos
3. Puerto
4. Marina
5. Camino
6. Contrastes
7. Requadros
8. Estudio
9. Danza del furor
10. Justicia
11. Grieta
12. Epilogo
1. Valparaiso psicodelico
2. Juegos
3. Puerto
4. Marina
5. Camino
6. Contrastes
7. Requadros
8. Estudio
9. Danza del furor
10. Justicia
11. Grieta
12. Epilogo
Alineación:
- Félix Carbone / drums, percussion
- Francisco Cortez / vocals, bass, cello
- Ismael Cortez / acoustic & electric guitars, vocals
Download: (Flac + CUE + Log)
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