Ir al contenido principal

Shakti with John McLaughlin - A Handful of Beauty (1976)

Artista: Shakti
Álbum: A Handful of Beauty
Año: 1976
Género: World fusion
Duración: 60:02
Nacionalidad: India / EEUU


Lista de Temas:
1. La Danse Du Bonheur
2. Lady L
3. India
4. Kriti
5. Isis
6. Two Sisters

Alineación:
- Zakir Hussain / percussion, tabla
- John McLaughlin / acoustic guitar, guitar, arranger, producer
- Lakshminarayana Shankar / violin, arranger, vocals
- Vikku Vinayakram / percussion, vocals


Otro inconseguible que nos trae Alberto para el disfrute de todos y aunque el Conejo traidor se queje... música india combinada con jazz con implicaciones profundamente místicas y que, obviamente, hacen recordar a la Mahavishnu Orchestra...

Shakti was a group which played a novel acoustic fusion music which combined Indian music with elements of jazz. Its leading members were the English guitar player John McLaughlin and Indian violin player L. Shankar. It also included Zakir Hussain (on tabla), Ramnad Raghavan (on the Mridangam), and T. H. "Vikku" Vinayakram (on Ghatam).
In addition to fusing Euro-American and Indian music, Shakti also represented a fusion of the Hindustani and Carnatic music traditions, since Hussain is from the North while the other Indian members are from the South.
It came together in 1975, after the dissolution of the second incarnation of the Mahavishnu Orchestra, and toured fairly extensively during the period 1975-1977; it made only sporadic appearances (with personnel changes) thereafter.
After 1977 the albums which L. Shankar recorded with Z. Hussain and T. H. "Vikku" Vinayakram stayed close to the music made popular by Shakti. Some twenty years later McLaughlin and Hussain put together another band with the same concept, called Remember Shakti, including V. Selvaganesh (son of T. H. "Vikku" Vinayakram ), mandolin player U. Shrinivas and eventually Shankar Mahadevan.
Two concerts at the Montreux Jazz Festival (July 6, 1976 and July 8, 1977) are included among the 17 CDs of the box Montreux Concerts by John McLaughlin
Wikipedia

Pero aquí la verdadera reeña es de Alberto, que nos escribió esto al traernos la obra:

Bueno, sin lugar a dudas el que dió una verdadera vuelta de rosca a la música fue John McLaughlin, y este proyecto llamado "Shakti" dentro de la historia de la música es una verdadera revolución, el que nunca escuchó este disco se va a encontrar con algo totalmente novedoso y sorprendente, totalmente inclasificable, nos encontramos con una obra exquisita y de una ductilidad técnica admirable, nadie que se precie de escuchar buenas cosas puede dejar de lado este disco.
Imaginarse como habrá sido el encuentro de estos extraterrestes musicales, los primeros ensayos, la definición de los temas, calzar las armonías, contar las vueltas, caer en tiempo a los solos, etc. te lleva a pensar que nada es imposible en el terreno de la Santa Cecilia.
Quizás la exploración del terreno espiritual de entonces y su consecuente descubrimiento de las variantes musicales que contenía, daban resultados inesperados, desde Los Beatles, su relación con el induísmo, y su posterior "Sargent Peppers", hasta este "Shakti" de McLaughlin, fueron experiencias que se tradujeron en proyectos diversos y por supuesto resultados discográficos diversos también. Pero ninguno alcanzo el nivel de Shakti, por eso esta experiencia la podemos situar en la cúspide de una imaginaria pirámide.
Seguir las escalas que tocan estos animales, disfrutar de cada introducción del violín de Shankar y de McLaughlin es la verdadera "experiencia religiosa", y ni contarte de la percusión, así que quizás este disco no admite la más mínima descripción. Sólo te queda cerrar los ojos y sumergirte por unos instantes en un mundo desconocido y lleno de luminosidad, otra obra que sin duda va a ser escuchada por generaciones. Si sos un puber musical anda a buscar a tus amigos, dejá de lado la comida chatarra y la gaseosa, y gastate unos minutos de tu vida en escuchar esta obra, a los que ya conocen Shakti les llega de nuevo este tacata tacata con un sonido remasterizado e insuperable, creo que Moe ya le esta rezando al ponja y prendiendole una vela, yo le deseo larga vida. Otro descatalogado que te va a volar el peluquin-.
Alberto

Y vamos con algunos comentarios adicionales en inglés:

Shakti headed for the safer confines of a London recording studio on its second album, minus R. Raghavan and minus some of the volatile energy that they generated on their debut record. They were, however, a more integrated, more subtle ensemble now, exploring quieter, more lyrical corners of their East-West fusion, with L. Shankar's spectacular violin and Zakir Hussain's tabla taking the solo foreground as much as, if not more than, McLaughlin's acoustic guitar. With the exception of an arrangement of a traditional South Indian piece "Kriti," McLaughlin and Shankar contribute all of the compositions, which lean even more heavily toward South Indian music with reminders of McLaughlin's Western roots. As a whole, this is less accessible to McLaughlin's jazz-rock flock than the first Shakti album, but still fascinating for contemporary listeners with a yen for world music, as well as curious stragglers from the classical Indian world dominated by Ravi Shankar (another indefatigable champion of East-West fusions).
Richard S. Ginell

Having missed out to date on the highly acclaimed Natural Elements album I have to say that this release from 1977 is simply awesome.The album starts with the vocal harmonies of ' La Danse du Bonheur ',various vocals combining to a climatic percussive rhythm. A pleasant song with an upbeat almost comical mood.' Lady L' follows which is sevn minutes of equisite sound arrangements as Shakti and JM deliver the goods. The best song on the album follows ' India'. This is a twelve minute epic pretty much defining the best moments Shakti can produce. The emotions evoked from this song stand testimony to the hightened level of spiritual awareness these musicians are on.' Kriti' ans ' Isis' are also great typical Shakti numbers. The closing ' Two Sisters' is melancholic and just plain beautiful. Four and half stars is a fair assessment.
Chris S.

This formation's second album is a bit more of the same really, as points out the similarly bland photo artwork, even if the tracks are much shorter and the recording is much clearer, this one being recorded in London's Trident studio (as opposed to the debut being Live). As just said, the music realm is much the same as in the debut with the resulting music being very credible Indian music for profane "fan" that I am.
Opening up on a capella intro, Danse Du Bonheur (happiness' dance) is a very lively track, contrasting heavily at first with the smoother and slower Lady L following it, but the track picks up much speed with Mc's almost too fast guitar lines, probably hiding still a lack of confidence on his part. India is, IMHO, the album's best track and possibly Shakti's crowning achievement. After a poor Kriti, Isis has us dreaming of Mid-Eastern desert sands and harem, even if the percussions are not suited for the full illusion. As much as Isis had us wandering westbound, Two Sisters has a definite Far-Eastern feel, but it is the poorer track on any of their three albums.
No better and no worse than its predecessor, and just like it not exactly essential for progheads unless they are looking in ethnic fusion as their favourite music, Handful Of Beauty might seem more adventurous and varied than its forerunner, but it looses a bit in over-indulgence what it had gained in freedom.
Sean Trane

There might have been a fact that he informed them of the name worldwide as a guitar player in the latter half of the 1960's. The performance and the technology of man who had done the item of Jazz and Fusion were the methods of the expression with a strong originality exactly. However, some the parts where the music character of John Mclaughlin did not have the specific location either might have existed. It might be able to discover some respects by researching this album.
The expression of the music character of him who had been done by demanding Miles Davis in the latter half of the 1960's might have been offered to the listener as an exactly reformative part. The part where a limit musical Miles Davis had been felt was succeeded to John McLaughlin in shape in close relation to the cancellation and development from Quintet. The reformative element might have been suitable for a music character at that time at the time of having done exactly as a part mainly composed of Rock by Miles Davis. In should advanced directionality in a situation at that time of John McLaughlin, it might be also true to have contained some necessities.
A universal part of the character and the directionality of the music character of John McLaughlin was emphasized further in the 70's. The performance with Lifetime of Tony Williams will have been liberating of the involved power of music exactly. The power gradually opened exactly became the flood of the sound and emphasized the part of the nucleus.
It is said 1970 meeting of Sri Chinmoy and John McLaughlin who is the spiritual guide in India. This meeting be might inevitability and a certain kind of fatal part for John McLaughlin. Mahavishnu Orchestra that had started in 1971 was a moment when the power of the music had been completely liberated further. A philosophical part and the thought of India might have been reflected in the nucleus. The deriving part from the element that Miles Davis at that time had advocated might have been related to the music character that Mahavishnu Orchestra had done. However, originality for John McLaughlin was always universal. In the situation that shifted from Lifetime to Mahavishnu Orchestra, he might have caught the directionality that had always to be done. Philosophical thought and the creation of India are gradually indeed opened. 1975 year when Mahavishnu Orchestra was temporarily dismantled might be being exactly recognized as a borderline for this Shakti by the listener.
The creation of the music that should be done for John McLaughlin and opening thought are almost expressed by the music character of this Shakti. The reflection of power, the technology, and the thought discharged from the body might exactly almost exclude the part of the extra and be expressed. All facts that appoint musician from India for election of member. And, the element that excludes the electronic part used till then. Part of relations that demand sitar guitar of custom-designed from Gibson Co. to advance music character that John McLaughlin expresses it with Shakti more concretely. And, the point to have appointed the Violin player while following the music character that Mahavishnu Orchestra had. These elements might be completely expressed by Shakti. The technology of Lakshminarayana Shankar and Zakir Hussain might be overwhelming. It is music that is exactly expressed by the element that the technology and the limit become nuclei and consists.
"La Danse Du Bonheur" advances with a complete dash feeling from the part of the imitation of the percussion instrument by the voice. The overwhelming ensemble and a high-speed rhythm might be splendid. Flood of melody of Violin and rhythm with percussion instrument that is reminiscent of Mahavishunu Orchestra. And, the obbligati of the guitar that expands the width of the tune. The technology of the band is complete.
As for "Lady L", thought of India and a philosophical element are reflected in the tune well. Unison of melody by guitar and Violin. And, rhythmically of the percussion instrument that puts fast and slow. Development with a melody that flows in the space and an intermittent part will invite the listener to the world of meditation.
"India" starts by an overwhelming technology of the guitar. The flow that appoints making the melody to make good use of the tuning as an idea is splendid. The production of the melody and the anacatesthesia to get on the calculated arpeggio has been completely passed as a tune. The involved power is gradually opened. It has the part where thought and the philosophy were completely reflected in the tune. The performance of Shakti that flows consistently might be steady.
"Kriti" progresses attended with a bright melody. The melody of the guitar and Violin produces the dash feeling. Rhythm of percussion instrument played by high-speed tempo. And, the height of the quality of the unison and ensemble. The quality will never fall.
As for "Isis", a gentle melody of Violin and the guitar is impressive. The melody of Violin has completely decided the directionality of Shakti. Ensemble might be complete. The height of the performance power of the percussion instrument can be discovered. The melody of the sitar guitar twines round the rhythm developed by a high-speed tempo well. The tune shifts to the part of Solo with the percussion instrument when about eight minutes have passed since the tune started. Offer of complete technology with percussion instrument. And, rhythmically of the continuation high-speed. Performance that puts fast and slow. Resonance of original sound of percussion instrument. Meditation continues. Solo of about six minutes might be a highlight of this tune. And, the processing of the part of Coda is also perfect.
The melody of "Two Sisters" with expression of feelings is impressive. A fantastic melody of the guitar and Violin expands the width of the element of the album. The composition pulled by the melody might be expressed partially of the directionality at which Shakti should aim.
The realization of the music character that John McLaughlin and Shakti exactly thought about at that time is expressed by the work. The music character that becomes a nucleus the element of the music of India and is united is splendidly consistently expressed.
Kazuhiro Kojima

This is really the first album I ever heard of any type of jazz fusion and I loved this music from the very first listen. After the dissolution of the Mahavishnu Orchestra, John McLaughlin became obsessed with playing Indian classical music after already having studied and learning how to play the classical Indian stringed instrument called the veena. This ultimately led him to the project SHAKTI where he found three extremely talented Indian musicians to accompany him. Zakir Hussain handled percussion and tabla duties. Lakshminarayana Shankar totally abused the violin and on this release Vikku Vinayakram handled additional percussion duties as well. John had a custom-made steel-string acoustic guitar made especially for the sounds he wished to achieve in this type of fusion band. The guitar featured two tiers of strings over the sound hole like those of a sitar or a veena which created a sound that corresponded better to the Indian instruments.
The band released a live debut album and then released two studio albums in 1977 with A HANDFUL OF BEAUTY being the very first. This album begins with the a firestorm konnakol (the art of performing percussion syllables vocally in South India) that begins "La Danse Du Bonheur" which immediately reminds of the energetic ferocity of the Mahavishnu Orchestra and the perfect opener for a band whose name is Sanskrit for "energy." The intensity that the musicians of the band deliver is absolutely incredible to say the least. The beauty of this band is that not only is this an East meets West affair but it is also a Northern India meets Southern India one as well. These musicians seamlessly marry Western jazz with the Hindustani classical styles of Northern India and the Carnatic classical styles of Southern India.
The album drifts from energetic passages beginning with the opening track to more mellow and pastoral moments as heard on "Lady K" and "Isis." The interplay between instruments is always perfect and the harmonies, melodies and rhythms take you on a wild ride through various time signatures and more haunting drawn out percussionless sections. At times some of the passages do outstay their welcome but overall the tracks are well paced.
At the time this was widely acclaimed for exposing western jazz lovers to the ragas and musical textures that traditional Indian music had to offer and guarantees energetic and well-played performances. If you have never been exposed to much Indian music before this then you may be put off for this can be intense but also sensually beautiful at the same time. If you have had the chance to fall in love with classical Indian artists such as Ravi Shankar and love the idea of a world fusion sound with incredibly fast and virtuosic performances than this will truly satisfy all those itches. I for one am still lovin' this one after many years of listening to it and am still completely awed by both the beauty of the emotional depth and the technical prowess of each talented individual involved.
siLLy puPPy

Bigger interest to Shakti music always was based on their collaboration with fusion guitar genius John McLaughlin. But he is not only reason why band's music could attract you.
Combination of minimalistic acoustic sound of guitar (McLaughlin), violin (L. Shankar), tabla (Zakir Hussain) and Indian percussions (T. H. Vinayakram ) is incredible. The music roots are deep in hundreds years of Indian classic music, but the reading of it is very modern.
Second Shakti album is recorded as quartet music (percussionist R. Raghavan is gone), and there is the first band's studio work. Very first album song opens with double wordless vocals, supported by energetic strings and percussion. Still with deep Indian music roots, this song has strong influence from jazz rock fusion: violin sound often reminds Jean-Luc Ponty's playing in Mahavishnu Orchestra.
"Lady L " is lighter, more lyrical song, with complex percussion. "India" is fundamental drone, finishing side A. One of the best album's song, melting Western lyricism with Indian meditative tradition.
Side B has similar structure as side A: two short compositions, and the long one. The first,"Kriti", is traditional Indian song, and you can hear it. "Isis ", the longest album's compositions (15+ minutes) opens with violin soloing/interplay with percussion, guitar just adding some backsounds. Then guitar take its place, with some energetic solos, mixing all these sounds in slow wave of liquid music.
"Two Sisters" is only McLaughlin's solo composed songs, and if with feelable Indian music influence, it sounds more of Western manner.
All in all, strong album of early world fusion. I think, to love it you should be deeply interested in Indian culture, tradition and philosophy, but even for unprepared listener this album could be pleasant and interesting experience.
Slava Gliozeris

Un disco trqascendental... ¿Y qué más vamos a agregar?... ¿vamos al disco?... daleeee, vamos al disco!






Comentarios

  1. Download: (Flac + CUE + m3u + Log + Scans)
    http://pastebin.com/Z891L1rn

    ResponderEliminar

Publicar un comentario

Lo más visto de la semana pasada

Documental: Estallido Social en Chile (2020)

"Desde el 18 de octubre miles de chilenos salieron a las calles. Su principal motivo fue plantarse ante un aumento en el precio del boleto del metro, pero ahora la sociedad sigue enardecida y exige un cambio en el modelo económico neoliberal que existe en el país desde hace más de 30 años y que ha cultivado una alta desigualdad. La crisis se ha agudizado debido a la represión con la que el Gobierno ha respondido a los reclamos". Así se presenta un documental realizado por el equipo de @PiensaPrensa, en medio de una lucha que está lejos de acabar y aún menos con un brío que a pesar de la pandemia no se ha apaciguado. Aquí, parte de la historia que se escribe día a día y que en el futuro se estudiará en los libros.


La policía chilena (carabineros) ha respondido a los movimientos de los manifestantes con agua, lanzamiento de gases lacrimógenos y disparos de perdigones. Desde el comienzo de las protestas los enfrentamientos han dejado más de 2.500 heridos y decenas de personas m…

Serú Girán - La Grasa de las Capitales (Edición 40 Aniversario) (1979 / 2019)

Esta edición especial tiene su lanzamiento digital hoy, y nosotros no podíamos dejar de mencionarlo. Un disco bien para que aparezca en el blog cabezón un viernes. Porque no es una versión cualquiera, porque salió hoy mismo, porque es una gran sorpresa tenerlo aquí y porque lo trae el Mago Alberto.  A partir de la recuperación del histórico catálogo discográfico de Music Hall, realizada por el Instituto Nacional de la Música (INAMU), y con un minucioso trabajo de producción que incluyó la remasterización del sonido desde cintas, restauración de arte de tapa e inclusión de un insert con fotos originales nunca antes vistas, se lanza a 40 años de su publicación una edición especial de "La Grasa de las Capitales", segundo disco del legendario Serú Girán.
Con la idea de escuchar cada vez mejor estas obras que traspasan el tiempo, es que anunciamos estas cosas maravillosas que van saliendo, y es que así se vive la mejor música en el blog cabezón.


Artista: Serú Girán
Álbum: La Grasa d…

FFWD (The Orb + Robert Fripp) - FFWD (1994)

Otra vez tenemos un aporte de Lean que nos vuelve a traer a la palestra un disco de un proyecto entre el señor Fripp y The Orb, muy volado, muy experimental, muy ambiental... realmente una rareza que entra dentro de los discos para odiar o para amar sin términos medios, porque esto es así, no tiene grises. Otro disco para que disfruten (o no) en otro fin de semana pandémico.

Artista: FFWD Álbum: FFWD
Año: 1994
Género: Experimental / Ambient /
Duración: 57:43
Nacionalidad: Inglaterra

Retomamos los aportes de Lean, ahora sobre un disco que alguna vez, ya hace mucho mucho tiempo, trajo el Mago Alberto, en un trabajo distinto a lo que normalmente compartimos... un disco distinto, punto.


FFWD is an eponymous album by FFWD - Robert Fripp, Thomas Fehlmann, Kris Weston, and Dr. Alex Paterson.
The title is also a play on the abbreviation often used on the fast forward control of a tape deck or CD player, also referenced in the "double-arrow" graphic used on the cover.
The album peaked …

Spinetta, esquina Artaud

En el pasado mes de junio, en medio de la cuarentena, se publicó un nuevo álbum de Luis Alberto Spinetta, el concierto de presentación de una de sus mayores obras: Artaud. Hoy, es considerado por la crítica el mejor disco de la historia del rock argentino, suscribo esa idea. Más allá de contiendas, argumentos y comparaciones es un buen momento para escuchar sonidos que pintan un tiempo particular, agitado y profundo que dejó secuelas que leemos, miramos y escuchamos en tantos formatos. Este disco parece un documental de época. Una excelente nota de Jorge Garacotche (líder de Canturbe y miembro de la movida de AMIBA) para fervor.com.ar.


Por Jorge Garacotche

Un domingo 28 de octubre de 1973, exactamente a las 11 de la mañana, sucedió algo insólito en plena avenida Corrientes, se presentó Artaud. Llegó al Teatro Astral de la mano de Luis Alberto Spinetta, se metió tras unas cuerdas y sonó hasta el mediodía. Esto viene a colación de un hecho muy importante para nuestra cultura, que ocurri…

The Byrds - Mr. Tambourine Man (1965)

#MúsicaParaElEncierro Vuelve al blog cabezón, luego de una corta estancia en una edición de vinilo, el primer disco de "Los Pájaros" en 4 ediciones de CD distintas enumeradas en sus respectivas carpetas. Un disco que muchos consideran dentro de los 100 discos más importantes de la música rock/pop anglo, como también es visto como uno de los mejores discos "debut" de la historia de la "música popular". El beat y el pop psicodélico son el plato fuerte de este enorme trabajo que, si eres beatlemaniáco, no te va a defraudar.


Artista: The Byrds Álbum: Mr. Tambourine Man
Año: 1965
Género: Beat
Duración: 31:37
Nacionalidad: Estados Unidos

Lista de Temas:
1. Mr. Tambourine Man
2. I'll Feel A Whole Lot Better
3. Spanish Harlem Incident
4. You Won't Have Cry
5. Here With You
6. The Bells Of Rhymney
7. All I Really Want To Do
8. I Knew I'd Want You
9. It's Not Use
10. Don't Doubt Yourself, Babe
11. Chimes Of Freedom
12. We'll Meet Again

Ediciones con B…

Piazzolla y la Historia de su “Retrato de Alfredo Gobbi”

Astor Piazzolla había vueto embalado de Francia, tras un año de estudios con Nadia Boulanger y puso en el Octeto los objetivos que le había señalado la gran pedagoga francesa, más lo que él llevaba en su sangre como genes musicales. La fórmula era explosiva y válida para toda su obra, fundamentalmente para la posterior a 1955. Los solistas de aquella agrupación de cuerdas eran él, Elvino Vardaro en violín, José Vasallo en contrabajo y José Bragato en cello. Corría el año 1957 y con aquel conjunto había terminado de grabar para Music Hall (sigla 65001) el LP "Tango en Hi Fi", que había tenido una más que modesta recepción.
En Bahía Blanca, mi ciudad natal, se había organizado un recital a efecturse en el viejo Palacio del Cine, a despecho de su pésima acústica. Me tocó entrevistarlo para el diario local. Y me dio la impresión de un poseído. De uno incapaz de plantearse dudas. Ni siquiera cuando, dos o tres veces, le observé la dura resistencia que iba a encontrar en un ambien…

'Entre la batuta y el rock' Francisco Lequerica y su "Summon EP"

Hoy les presento a Francisco Lequerica. Uno de los 3 compositores sinfónicos nativos y activos de la ciudad de Cartagena, Bolívar (Caribe colombiano) que con mucho gusto accedió a una entrevista para el blog cabezón, en la que en un principio buscaba tratar y promocionar su último trabajo titulado "Summon", pero la ocasión misma nos llevó a hablar sobre diversos problemas a través de una serie de observaciones brillantes propias de un artista mayúsculo acerca de la situación del escenario artístico actual, la labor creativa de un músico auténtico, y sobre cómo es vivir entre la batuta y el rock. 

Viaje al Pasado de Spinetta

El lanzamiento del célebre disco de Pescado Rabioso por un solitario Spinetta en el Teatro Astral fue por años un misterio dormido en grabaciones de dudosa calidad. Votado como el primero de Los 100 mejores álbumes del rock argentino según Rolling Stone, desde ahora su presentación de 1973 circula en versión oficial. "Pescado Rabioso es una idea musical creada en 1971 por Luis Alberto Spinetta. A través de esta idea tocaron en grabaciones y actuaciones los siguientes músicos: Juan Carlos Amaya, Osvaldo Frascino, Carlos Miguel Cutaia y David Oscar Lebón. Los músicos que aparecen en este disco sólo están ligados a la idea Pescado Rabioso por las circunstancias de la grabación y a expreso pedido de Luis Alberto Spinetta" aclaraba, en ese sentido, el sobre interno de aquella histórica tapa irregular pergeñada junto a Juan Gatti. El disco fue considerado entre los mejores discos de rock en la historia argentina, "Artaud" es un disco oscuro en momentos en que la Argentin…

Artaud 1973: El Disco Donde Spinetta Forzó Sus Límites

La familia Spinetta recuperó y remasterizó la grabación de la presentación de 'Artaud', el mejor disco de rock nacional según Rolling Stone, en 1973. El 28 de octubre de 1973 a las 11 de la mañana, Luis Alberto Spinetta imprimía sobre el escenario del Teatro Astral una página dorada para la historia del rock argentino. La presentación de Artaud, su último disco bajo el nombre de Pescado Rabioso -elegido por RS como el mejor álbum del rock nacional-, lo encontraba sin banda y decidido a inaugurar el comienzo de una nueva era artística. Así fue que Spinetta se cargó un show en solitario, con su guitarra acústica y nuevas canciones como "Todas las hojas son del viento", "Bajan" y "Cantata de puentes amarillos", transformando aquella hora quince de concierto en una poderosa performance, dialéctica y desafiante, para con su pasado y su futuro.

Por Juan Barberis
El 28 de octubre de 1973 a las 11 de la mañana, Luis Alberto Spinetta imprimía sobre el escen…

Alejandro Del Prado - Dejo Constancia (1982)

#Músicaparaelencierro. "Cabezonas/es, esto es una obra de arte de los 80, para disfrutar hasta el hartazgo, el primer disco de Alejandro del Prado, una belleza total". Así comienza el comentario del Mago Alberto sobre este disco de Alejandro Del Prado, alguien que hacía rato tenía pensado traer al blog cabezón pero por alguna razón recién cae por estos pagos. Un inconseguible sobre poemas musicalizados por Del Prado del argentino Jorge Boccanera, que cuenta con la participación de Litto Nebbia, Daniel Binelli y Silvio Rodríguez, que fuera grabado en 1980, siendo su primer disco luego de su participación en Saloma, pero fue editado recién dos años después. De inclinaciones folklóricas y tangueras, un cantautor que reunió como nadie tango, rock, murga, milonga y más, y dejamos constancia del primer disco de Del Prado.

Artista: Alejandro Del Prado
Álbum: Dejo Constancia
Año: 1982
Género: Testimonial / Trova
Nacionalidad: Argentina


Trabajó de albañil, de capataz, en escuelas y hasta …

Ideario del arte y política cabezona

Ideario del arte y política cabezona


"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.