The Flute of Gino Marinacci, Library, requested

Generic library record, by request.  A few hundred dollars to purchase!

Note how the opening to Oasi seems stolen from the Theme from MASH:

 

 

Janusz Muniak Group in Placebo, 1983 (plus 3 other LPs)

Basic smooth Polish jazz with the long tracks, like Namyslowski posted earlier.  From the album called Placebo (1983) the first track:

Jorge Campos (bassist of Fulano) in 4 albums (La Magia, Ausencia, Machi, Nu-Bass)

Towards the end, the music is both more experimental and less accessible than the preceding group he led, Fulano. His discography here.  I thought I'd put them here for completion sake and since they were mentioned last time by the commenter Sven. I am not sure if his earlier bands, Congreso, or Santiago del Nuevo are also worth a listen.  Others will know better than I.  Anyways the first album (1995) is surprisingly accessible and folk-based, with very little in the way of the progressive of Fulano though here and there this does make an appearance.

From Nu-Bass (2014), the track called Los Libros:

And the lushly symphonic title track from La Ausencia De Lo Sagrado (2004):

This album being the best of the 4 I think.

Chilean fusion band Fulano in 5 (1987 to 2015)

From discogs:

Chilean jazz-fusion band from Santiago, active from 1984 to 2003 and from 2009 to 2015.

Current line-up:

- Jorge Campos: bass, guitar and composition (1984–2003, 2009–2015)

- Cristián Crisosto: soprano, alto and tenor sax, flute and composition (1984–2003, 2009–2015)

- Rafael Chaparro: tenor and soprano sax (1999–2003, 2013, 2015)

- Felipe Muñoz: keyboards (2009–2015)

- Francisca Rivera: vocals and piano (2013–2015)

- Cristóbal Dahm: baritone and tenor sax, and clarinet (2013–2015)

- Alvaro Poblete: (2013-2015)

I think everyone always gets excited by these current bands that turn out to be incredible, cd. Level F and Zopp.  This band discographed here, is mostly in the loud hot and furiously progressive fusion category, that is, like latin Iceberg or Fusioon which came before, bands which I guess everyone is well familiar with.

However their progressiveness is so special, and thankfully non-latinized with all that entails (no flamenco chord progressions for the most part and no bossa nova/samba) combining high energy electric instruments with some chamber composition a la Julverne full of tritones and dissonances and strong features resembling the infamous Italian band Picchio dal Pozzo (one of my all-time favourites) so pretty unique.  Notice that the first one came out only as cassette in the inauspicious year of 1987, though recall Nuevo Aires also made incredible music in that period in time.

From the first album the Julverne tendencies appear obvious on the track called Maquinerias:

They reached their peak in progressive chamber-RIO-style fusion on the 1997 album, ten years after the first, called Trabajos Inutiles. For me such a joy to discover something so good in such an unusually unpromising year.

From Animal, Viejo al Silencio really reminds a lot of the Picchio nutbars, notice the very abrupt changes in tempo:

Spanish bassist / composer Carles Benavent

From discogs:

Spanish bass player, born March 1, 1954 in Barcelona.

Benavent's greatest contribution to music is to have given a major role to bass guitar in flamenco music with the Paco De Lucia Sextet in the 1980's. He's played too with Miles Davis, Chick Corea and El Camarón De La Isla. At 13 he founded the blues trio Crac (2) with Salvador Font (drums) and Emili Baleriola (guitar). In 1969 the three of them joined Enric Herrera to refound Máquina. In 1975 he founded Música Urbana with Joan Albert Amargos (piano, clarinet), Salvador Font and Lluis Cabanach (guitar).He has also played with a lot of Spanish jazz-rock musicians, including Kitflus, Tito Duarte, and Jorge Pardo.

Based on these solo albums it's obvious he contributed quite a bit to the Musica Urbana group, which is btw my favourite progressive fusion group out of Spain.  The hallmark of his style is the shocking chord changes under elaborately florid flamenco-like melodies.  From the first ST album, the track called Full of Clarinets and Mandolins sounds the most like a MU composition:

From the Dos album, Romantica:

Notice that in the 1991 album he plays with keyboardist Amargos and violinist Didier Lockwood, who was featured here before I think to completion or almost.

If there's anyone who hasn't heard the 3 Musica Urbana albums, I strongly urge them to seek them out asap, and kick them in the butt too (to boot) for not having done so earlier.

Included are albums Carles Benavent, Dos Copas, Peaches with Salt, and the collaboration with Lockwood called Colors.