So don't judge this based on the picture of the artists on the back, their appearances which of course were normal for those who recall the fashions of the eighties, of which the most notorious now is the 'mullet' hairstyle... And I think we all know how wonderful, and uplifting, it is to see a man, usually in his 50s, sporting a mullet without irony somewhere today, usually in rural parts of North America... Because this music is squarely in the late-seventies chamber prog-fusion tradition and really, doesn't make any allowances whatsoever for the fact we moved on into those "I want my MTV" eighties with neon-bright colors and jumpy dance moves and bought digital drum machines, casio keyboards, and that tinny weak sound electric guitars acquired (and grew our hair long in the back).
No not at all, we are back to the past here, a past in which progressive songwriting and classical chamber music could be successfully fused together into a gorgeous harmonious whole that made no compromises whatsoever to anything a record company producer or radio station deejay would care to say or criticize... This is art, simply. And I wonder what those executives would have made of this record back in 1989, with its insistent complications and difficult chords and melodies? Luckily there was still a strong fusion tradition back then, but it was definitely on the wane worldwide. Nevertheless, today we must thank god that there were those who had enough foresight to make LPs such as this despite everything going against them-- just imagine all the masterpieces that were never recorded because there was no appetite anymore for progressive or inventive composition...
Note the presence of the great Litto Nebbia as producer here, he himself made some gorgeous progressive records in his prime. Briefly, from the back: Comedia was founded in 1981, performing in Buenos Aires, and released their 1st album in 1989. The music is a mixture of folklore and jazz, sometimes in the style of Hermeto Pascoal, with chamber music, ethnic music, and jazzy fusion aspects.
For sure, the more progressive works of those two men are the best comparison here, there is, however, no actual singing, only wordless vocals.
Leo Heras .....clarinet and soprano sax
Marcelo Moguilevsky ......clarinets, flutes and voice.
Marcelo Doctor ......drums and percussion
I sampled the first track, quite representative with the woodwinds and the electric piano sound and utterly original compositional skills. Notice how orchestral or European/classical the sound of the clarinet playing becomes throughout the song, but then the voice adds in that beautiful soft South American touch of heart and soul and tropical heat.
Many many thanks to my wonderful friend for sharing this with me and with us! How these people find these stunning treasures I don't understand and I am in awe of... Was I kidding when I said, with regards to Clareon, there are many old gems still waiting out there to be discovered?