Cuero “Tiempo Despues"1973 + "Crecimiento” 1974 +‎ “Tiempo Despues” 1973 EP- Argentina Heavy Prog Latin Jazz Fusion,Blues Rock

Cuero “Tiempo Despues"1973 + "Crecimiento” 1974 +‎ “Tiempo Despues” 1973 EP- Argentina Heavy Prog Latin Jazz Fusion,Blues Rock

Cuero “Tiempo Despues"1973 full dailymotion

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https://open.spotify.com/album/1QCYGvfEKXMqNaM4dFt76W

Cuero "Crecimiento” 1974 full spotify

https://open.spotify.com/album/5Tk6AfZIN6QzCrpsHTC5Za

Cuero ‎ “Tiempo Despues” 1973 EP full spotify

https://open.spotify.com/album/1QCYGvfEKXMqNaM4dFt76W

This trio was formed in 1973, after the dissolution of Piel de Pueblo. Carlos Calabró and Nacho Smilari, members of that band, joined Quique Masllorens, founder of La Joven Guardia and without having performed any show they recorded their debut album, “Tiempo después”, in the middle of ‘73. The band developed in this album an excellent rock and hard blues with psychedelic allegories. 
Carlos Piña replaced Masllorens just after the recording of the plaque, which was presented live on very few occasions, before the dissolution. 
Smilari tried to reunite the original musicians for a second album, but was unsuccessful. That is why he summoned Adalberto Cevasco (bass), Osvaldo López (drums), Bernardo Baraj (saxophones), Parentella (piano) and Joe Coco (percussion) and with this group he published “Crecimiento”. Without even presenting it live, the band was dissolved again. 
The leather material was never reissued by the Music Hall label in any format, although there is an “unofficial” reissue (without a license from the broken Music Hall label) on CD made in Mexico of its first two works on a single CD….~

After the break up of Piel de Pueblo, outstanding guitarist Nacho Smilari and drummer Carlos Calabró joined Masllorens (ex-La Joven Guardia) and formed Cuero. 
The debut album was a hard rock effort lead by Nacho’s brilliant guitar. The instrumental “Tiempo después”, “Nuevamente el momento”, “No sé si voy a enloquecer”, the blues “Escucha mi voz”, and the long psycho “Paula acurrucada en un color” are the remarkable tunes. This is a recommended album for those who like Piel de Pueblo, Montes, Rockal y La Cría and Pappo’s Blues. 
Cuero soon split after Smilari’s departure to the USA. But later Nacho returned and the group recorded a very good album with the help of excellent musicians such as Bernardo Baraj (ex-Alma y Vida) on sax and flute, Osvaldo López (ex Los In) on drums, Adalberto Cevasco on bass, Raúl Parentella on electric piano and Joe Coco on percussion. 
This second LP was almost Latin jazz-rock instrumental music with good guitar playing. It is obvious that his trip to the USA had influenced him quite a bit. 
Both records went unnoticed (especially the second one) and had never been reissued on any format. The first one is harder to get….~

Cuero “Tiempo Despues"1973 Argentina 

Credits
Bass, Vocals – Enrique Masllorens
Drums – Carlos Calabro*
Guitar, Vocals, Piano – Nacho Smilari

Tracklist
A1 Tiempo Despues
A2 Jungla De Neon
A3 Nuevamente El Momento
A4 No Se Si Voy A Enloquecer
B1 Parientes Del Mundo Interior
B2 Escucha Mi Voz
B3 Paula Acurrucada En Un Color 

Cuero "Crecimiento” 1974 Argentina Prog Jazz Afro Fusion

Personnel:
- Nacho Smilari - vocals, guitar
- Bernardo Baraj - tenor saxophone, soprano saxophone, flute
- Raul Parentella - pianos
- Adalberto Cevasco - bass
- Osvaldo Lopez - drums
- Joe Coco - percussion
- Jorge Zorry - alto saxophone

Tracklist
Crecimiento 3:30
Forrado De Cueros I 1:15
Viendome A Trasluz 7:40
Nuevas Caras 3:17
Silenciosos Negros 2:45
Forrado De Cueros II 1:15
Pisando El Suelo 3:15
Fantasias De Cristal 3:45
Golpeando Las Piedras 2:07

Cuero ‎ “Tiempo Despues” 1973 EP

Tracklist 
A1 Tiempo Despues 3:30 
A2 Nuevamente El Momento 3:50 
B1 No Se Si Voy A Enloquecer 4:07 
B2 Excucha Mi Voz 4:47 

Albums 
1973 - Tiempo después (Music Hall 2405) A 
1974 - Crecimiento (Music Hall 13072) B 
1973 - “Tiempo Despues”  EP

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Chute Libre "Chute Libre" 1977 France Jazz Rock Fusion

Chute Libre  "Chute Libre" 1977 France Jazz Rock Fusion

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https://open.spotify.com/album/6n05dHyTYvcA0eGbbu1zAr

Highly fluid French fusion with funk inclinations and a subtly masterful touch. Lotsa flute driven passages of percolating grooviness in the mode of The Chris Hinze Combination, Jean Cohen-Solal and Jeremy Steig along with others whose combination of intensive depth and frothy effervescence call to mind Michal Urbaniak’s Fusion and the Dutch jazz rockers Solution….~

Credits 
Bass Guitar – Gilles Douieb 
Cover – Gilles Ballini 
Drums, Percussion – Mino Cinelu 
Flute – Denis Barbier 
Guitar – Patrice Cinélu 
Piano, Clavinet, Organ, Synthesizer – Olivier Hutman 
Realization, Art Direction – Laurent Thierry-Mieg 
Soprano Clarinet, Alto Saxophone – Eric Letourneux 
Soprano Saxophone, Tenor Saxophone – Pierre-Jean Gidon

Tracklist 
A1 Black Sweat 2:45 
A2 Jerba 3:50 
A3 Tao 5:25 
A4 Sainte Bernadette 4:45 
A5 Flauçerto 2:25 
B1 Penelope Au Balcon 5:50 
B2 Spasmolune 7:10 
B3 Jeremy 

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Larry Coryell “Return” 1979 US Jazz Rock Fusion

Larry Coryell “Return” 1979 US Jazz Rock Fusion

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Larry Coryell made his earliest recordings as a leader for Vanguard and most of his sessions from 1968-75. After working for a variety of other labels, he came back for this lone effort in 1979. Coryell’s basic sound was still the same as in his early fusion days, but the setting had changed. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. Although not one of his most significant dates, Larry Coryell sounds in fine form throughout this modern mainstream LP, stretching himself a bit. 

This is one of my favourite Larry Coryell albums. Dangerously close to soft jazz this is an album with the Brubeck brothers that is irresistably energetic. There is so much passion and joy in this and Larry’s trademark chunky sound together with technical playing which is clearly by a man back at the top of his form makes this a must buy. In my opinion Larry is always stronger when he avoids too much technical pyrotecnics and just burns from the heart. The melodious nature of the tunes means that Larry has a platform from which he effortlessly churns out singing, soulful and inspirational solos side after side. And the sidemen aren’t half bad either. A shortish recording but each and every song is a gem…what more could you want? 

I first met the Larry Coryell/Brubeck Brothers band on a rare, direct-to-disk recording (“Better than Live”) that would become my all-time favourite musical moment. And it still is. So I spent a few years looking for another collaboration, even asked Larry himself(!) until I found this one. Although there’s not as much magic in “Return” than in “Better than Live”, the former still deserves the best appreciation. Larry has the Magic Touch. He is the Divine Guitar, and the he and the Brubeck Brothers are the best of the late-70s Jazz-Rock bands. 

Larry Coryell came back for this lone effort with Vanguard Records in 1979. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan - yes, they are Dave Brubeck’s sons!), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. 
Now many critics will state that this effort by Coryell was not one of his most significant projects, but I challenge the listener/buyer to check it out regardless of what a few critics may say. 
Larry Coryell, always in fine form throughly kicks it up many notches on the CD title cut, ‘Return’, which, when I blast this song from my car while riding down the street, I’m always asked, “Who’s that jammin’ on the axe?!” Obviously, guitar aficionados recognize “GREATNESS” when they hear it!….by Crimhead420…~

Larry Coryell made his earliest recordings as a leader for Vanguard and most of his sessions from 1968-75. After working for a variety of other labels, he came back for this lone effort in 1979. Coryell’s basic sound was still the same as in his early fusion days, but the setting had changed. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. Although not one of his most significant dates, Larry Coryell sounds in fine form throughout this modern mainstream LP, stretching himself a bit….. by Scott Yanow….~

Larry Coryell came back for this lone effort with Vanguard Records in 1979. Joined by three of the Brubeck brothers (keyboardist Darius, electric bassist Chris and drummer Dan - yes, they are Dave Brubeck’s sons!), along with percussionist Ray Mantilla, the guitarist performs three of his originals (including “Cisco at the Disco”), two Darius Brubeck numbers, and a selection co-written by Al DiMeola and Paco DeLucia. 
Now many critics will state that this effort by Coryell was not one of his most significant projects, but I challenge the listener/buyer to check it out regardless of what a few critics may say. 
Larry Coryell, always in fine form throughly kicks it up many notches on the CD title cut, 'Return’, which, when I blast this song from my car while riding down the street, I’m always asked, “Who’s that jammin’ on the axe?!” Obviously, guitar aficionados recognize “GREATNESS” when they hear it!…by… Willaume M. Kelley IV…~

I first met the Larry Coryell/Brubeck Brothers band on a rare, direct-to-disk recording (“Better than Live”) that would become my all-time favourite musical moment. And it still is. So I spent a few years looking for another collaboration, even asked Larry himself(!) until I found this one. Although there’s not as much magic in “Return” than in “Better than Live”, the former still deserves the best appreciation. Larry has the Magic Touch. He is the Divine Guitar, and the he and the Brubeck Brothers are the best of the late-70s Jazz-Rock bands….by… P. Marrel….~

Credits 
Bass – Chris Brubeck 
Drums – Dan Brubeck* 
Engineer – Mark Berry 
Guitar – Larry Coryell 
Percussion – Ray Mantilla 
Piano – Darius Brubeck 
Producer – Danny Weiss

Tracklist 
1 Cisco At The Disco 5:37 
2 Rue Grégoire Du Tour 4:37 
3 Three Mile Island 5:50 
4 Return 5:35 
5 Sweet Shuffle 6:21 
6 Mediterranean Sundance / Entre Dos Aguas 5:49 

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Octávio Burnier "Dança Infernal “ 1979 Brazil Latin Jazz Fusion

Octávio Burnier  "Dança Infernal “ 1979 Brazil  Latin Jazz Fusion

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"It’s very common for us to turn on the radio, listen to a song, like it or not, listen to another and another, without any idea of ​​the work that exists behind this execution, of the care and dedication that this work demands for a good result. It is true that music is, or should be, a source of pleasure, a relax for our ears that suffer so much with all kinds of noises in our daily life. In this way, the author, interpreters, arrangers and musicians would be less intermediaries of fun products.It is important to point out that there are differences between the products that reach the media and that, above all, there are musicians who are dedicated to a work that is part of their lives, like music itself. is the case of Octavio Burnier, a 26 year old carioca, a life dedicated to music. Octavio is a person full of life, a professional conscious of the work that develops, a personality characteristically attentive to what happens around him. He is a musician who dedicates himself to his instrument, who cares about the clothing that will be given to his creation (and an excellent arranger) and never forgets to see how he can get closer to his audience and how the music market goes developing. In short, is a professional without a shadow of a doubt. He embraced the guitar since he was a boy and never abandoned him, with eyes and hearts open to hear and to create. Octavio has a style all his own, a way to talk to his guitar and create sounds. Brings the mark of the School Violonística of Luiz Bonfá by those who have deep admiration and of who absorbed a characteristic sonority, enriched that was by what springs from musicality of himself. Just as he watched Bonfá’s fingers roaming freely over the guitar’s arm, Octavio surrenders to the instrument by living every chord and every variation, and in that way he can record what he likes to do, with the freedom to do what he wants. Alas, it is worth remembering Polygram’s daring to launch this basically instrumental album, in the MPB Contemporary Band, a daring one that has as its weapon the talent of a musician who knows very well what he wants and what he does in the middle of this "INFERNAL DANCE "for a share of the musical market of this holy land of so many races, so many fights and so many carnivals.”…..~

Octávio Burnier, whose pseudonym today is Tavynho Bonfa (or was Octávio Burnier the pseudonym?), is a nephew of the time-honored guitarist, Luiz Bonfá, the composer of the Brazilian hit, Clarear, and the other half of the Brazilian Pop duo from the seventies, Burnier & Cartier. 
Well, straight-ahead Radio Pop it never was, with all the Jazz and psychedelic Folk influences their music contained. And so unsurprisingly, Octávio Burnier’s solo album is something like a continuation of Burnier & Cartier at the dawning of the eighties. 

Now in 1979 (when the album was recorded), there’s a strong influence from the dance-crazed late seventies, the effect of which is that Octávio’s solo album suffers a bit from that, those pieces have aged, in spite of the fact that the songwriting and the complex arrangements are still reminiscent of the music recorded in the context of Burnier & Cartier. 
On the other hand, there’s an emphasis on Octávio’s prodigious guitar chops. There are a couple of solo excursions, where his great playing is featured. He’s clearly a guitar master of the first ranks. 

So, perhaps this album lacks the consistency of the two Burnier & Cartier records, however, it’s a storehouse of great arrangements and most of all, a showcase piece of Octávio Burnier, the guitar master…..by…..yofriend ….~

Credits 
Acoustic Guitar, Guitar, Vocals – Octavio Burnier 
Alto Saxophone – Jorginho* 
Backing Vocals – Papo De Anjo 
Bass – Dadi*, Jamil Joanes 
Cello – Márcio Mallard* 
Design, Illustration – Aldo Luiz 
Drums – Paulo Braga*, Robertinho* (tracks: 3A) 
Organ, Piano – Laércio De Freitas, Wagner* (tracks: 3A, 1B) 
Tenor Saxophone – Biju* 
Trombone – Maciel* 
Trumpet – Marcio* 
Viola – Penteado* 
Violin – Aizik*, José Alves (2)

Tracklist 
A1 Aproximação 4:02 
A2 Beijo Sumerso 3:22 
A3 Por Quase Nada 3:14 
A4 Zanga Aborígine 2:29 
A5 Dança Infernal 4:30 
B1 Dança De Rua 3:06 
B2 Todos Os Meninos 4:43 
B3 Um Dos Meninos E Sua Mãe 2:01 
B4 Dança Dos Ventos 2:46 
B5 Biruta 3:16 
B6 Exercício Matinal 0:58 

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