1982 – LOS ABUELOS DE LA NADA (INTERDISC)
Los Abuelos De la Nada

Constitutes a common misconception the assumption

that Daniel Melingo (Melingo), upon returning from

Brazil in 1980, immediately joined Miguel Abuelo’s

(Miguel Abuelo) band ‘Los Abuelos De la Nada’ by

playing sax, clarinet and doing vocals, and it is as well

uncertain that he did participate in 1981 debut singles

"Guindilla ardiente" and "Mundos in mundos".

Early 1979 Daniel Melingo travelled to the city Ouro

Preto, a municipium of the state of Minas Gerais, in

Brazil, where he met mime Olucaro Ocimotana who

had previously gained a significant success in the Sao

Paulo Bienal Arts Foundation with his unipersonal

spectacle ‘Magical Theatre: A mankind history in the

planet’. Daniel Melingo was so impressed by the

structure of musicalized theatrical sketches that he

joined playing clarinet to Juan Aguilar (acoustic guitar)

and chilean Esteban (surname to be confirmed) (device

operations). 

By September 1979, mime Olucaro Ocimotana’s

spectacle had evolved into a multimedia experience

touring, under the name of ‘Theatre of The Invisible of

Buenos Aires’, several brazilean cities including Sao

Paulo, Minas Gerais and Rio de Janeiro. These unique

shows, a combination of mime-music-dance & poetry,

marks Daniel Melingo’s first participation in a musical

theatre project. The performance in the city of Sabarà,

around 23 km East from the neighbor state of Belo

Horizonte, counted with the collaboration of Guillermo

Medin in charge of video tape recordings.

In June 1984 ‘Theatre of The Invisible of Buenos Aires’

gave their last performance before departing to Europe,

at FUNARJ’s Sala Cecilia Meirelles in Rio de Janeiro:

Olucaro Ocimotana (Producer, General Director, mime),

Mariangela Mascaretti (mime partner), Guillermo Medin

(Quistral, Final, Berklee College of Music 1983/1985

Composition Awards, Biorsi, Klhasch) (Musical Director,

keyboards), Luciano Bahia (keyboards), Josè Simian

(electric guitars), Jorge Varela (electric bass), Toni

Aguiar (wind instruments), Claudia Samanta (vocals);

but by then Daniel Melingo already had left the ensemble

presumably to play with Milton Nascimento.

In 1980 upon returning to Buenos Aires, Daniel Melingo

formed his own group called ‘Ring Club’ and the material

consisted of musicalized theatrical sketches which kept a

similar structure learned from mime Olucaro Ocimotana’s

‘Theatre of The Invisible’. The second set of shows named

‘Juicio oral al Dr.Moreau’ featured Miguel Abuelo (vocals,

 percussion), Gustavo Bazterrica (Gustavo Bazterrica)

(electric guitar), Juan del Barrio (Juan Del Barrio)

(keyboards), Miguel Zavaleta (vocals, keyboards) and

guest artists: ‘Los Hermanos Clavel’ and ’Las BayBiscuits’.

Legendary sister machines Roland Bass Line TB-303 &

Drumatix TR-606 used by keyboardist Guillermo Medin

in 1984 ‘Theatre of The Invisible of Buenos Aires’ Rio de

Janeiro show:

Although there aren`t soundtracks of Daniel Melingo

playing his soprano clarinet in the Sabarà show, it is said

that the event was caught on Single-8 film (Japan Fuji

Film counterpart of  the worldwide renown Kodak Super-8

format). Nevertheless,there are rehearsal recordings of

‘Theatre of The Invisible of Buenos Aires’ that might still

be found around.

Theatre of The Invisible of Buenos Aires Playback URLs:

'Amor' (rehearsal).mp3 (10.01 MB)

http://www.mediafire.com/listen/udv1lb45q24dwjm/Teatro_de_lo_Invisible_de_BsAs_%2301_%27Amor%27_%28rehearsal%29.MP3
OR

http://mfi.re/listen/udv1lb45q24dwjm/Teatro_de_lo_Invisible_de_BsAs_%2301_%27Amor%27_%28rehearsal%29.MP3

'Oli na cidade' (rehearsal). mp3 (3.17 MB)
http://www.mediafire.com/listen/acyk310f1ihnbnd/Teatro_de_lo_Invisible_de_BsAs_%2302_%27Oli_na_cidade%27_%28rehearsal%29.MP3
OR
http://mfi.re/listen/acyk310f1ihnbnd/Teatro_de_lo_Invisible_de_BsAs_%2302_%27Oli_na_cidade%27_%28rehearsal%29.MP3

'Oli marionete' (rehearsal). mp3 (5.30 MB)
http://www.mediafire.com/listen/dysg4xs8c7thksi/Teatro_de_lo_Invisible_de_BsAs_%2303_%27Oli_marionete%27_%28rehearsal%29.MP3
OR
http://mfi.re/listen/dysg4xs8c7thksi/Teatro_de_lo_Invisible_de_BsAs_%2303_%27Oli_marionete%27_%28rehearsal%29.MP3

1978 - FINAL (Simple EMI 1642)
Para Ser / Dia de Ciudad

In early 1978, Roberto Gessaghi and Alejandro Magurno
realized that transforming their Folk/Urban songs into
a Progressive Rock genre meant calling in experienced
musicians. For this purpose and advised by a common
friend, composer Daniel Montes, they were introduced
to:

drummer Willy Iturri (Willy Iturri), who brought with
him extensive rhythmic resources practiced with Cèsar
Pueyrredon in ‘Banana’, a Pop/Rock group; and

keyboardist Guillermo Medin (Klhasch), who besides
incorporating the orchestral/arranging craftsmanship
implemented for Gabriel Ogando in ‘Quistral’ (Quistral),
a Folk/Rock trio, he brought in the Latin feeling once
exhibited with Tito Losavio (Man Ray) in ‘Burbujas’, a
Tropical/Dance group.

The formation was completed with Pablo Guyot (G.I.T.)
in lead guitar and Quique Conte (spelling needs confirma-
tion) in bass. Later on, due to Quique’s style discrepancy
with band leaders, he left the group and was replaced by
Carlos Corallo. All tunes were crafted in the basement of
Quique’s aunt house in La Lucila, North Buenos Aires.

‘Final’ was signed to EMI-Odeon in October 1978 and the
contract stipulated the release of an album shortly
afterwards the ‘Para ser / Dia de ciudad’ single, but
this was never accomplished due to economical reasons:
adverse economic measures taken by the Dictatorship’s
minister, which abruptly reduced consumption, mingled
with the uncertainty of a possible war with neighbor
Pinochet regime in Chile (‘Operaciòn Soberania’),
persuaded the Recording Label to halt the production of
new groups and reconsider instead substitute releases
of pre-existant signed artists such as Raùl Porchetto.

Consequently, ‘Final’ band contract was ignored by
EMI-Odeon and by the end of 1979 the group members
moved on to pursue fulfillment of projects on their own.

EMI–1642A Format: Single 7" vinyl, 45 RPM

Playback Side A - Final 'Para Ser'.mp3 (8 MB)

http://www.mediafire.com/file/ruwdzfovxcilfio/Final%20'Para%20ser'.mp3

OR
http://www.mediafire.com/?ruwdzfovxcilfio

EMI–1642B Format: Single 7" vinyl, 45 RPM

Playback Side B - Final 'Dia de Ciudad'.mp3 (6.72 MB)

http://www.mediafire.com/file/2fmb3w7qqyuqv16/Final%20'Dia%20de%20ciudad'.mp3

OR
http://www.mediafire.com/?2fmb3w7qqyuqv16

1974 - ALTERNATIVA 2 (RCA Victor AVS-4290)
Side B - track #5 : Trio ‘Quistral’ – Tantas Cosas

By releasing the song ‘Tantas cosas’, the acoustic duo

‘Gabriel & Marcelo’ planned closing their contribution

to the folk genre. Sympathetically with most of male

duos of that period, songwriter Gabriel Ogando desired

as well a new texture for his compositions, a departure

from the simplicity of folk closed harmonic structures

into the limitless of the classical orchestra melodic palette.

Named after a bird supposedly from the Argentinean

south, ‘Quistral’ meant to be ‘Gabriel & Marcelo’ next

evolutionary musical stage.

In 1974, Gabriel Ogando crystallized this new project, by
meeting keyboardist Guillermo Medin (Quistral - Final
Klhasch) who at that time was playing with Tito Losavio
(Man Ray) in ‘Burbujas’, a Tropical/Dance group under
the leadership of percussionist guru Guido ’Chiche’ Abregu.
‘Quistral’ rehearsals started shortly afterwards in Guillermo
Medin’s studio in Lomas de Zamora, South Buenos Aires. 

All songs were re-arranged, re-harmonized and orchestra-

ted accordingly to Gabriel Ogando`s plan and in 1975 trio

‘Quistral’ presented this new shaped-up material in IFT

Theatre, in the off ‘Once’ neighborhood. This unique un-

plugged concert featured Gabriel Ogando/Marcelo Braga in

acoustic guitars/vocals and Guillermo Medin in acoustic

piano and represents the solely ‘Quistral’ formation ever

known to the public.

Due to some kind of disagreement between the two vocalist,

(not into commenting about soap-opera subjects) the trio

‘Quistral’ splitted-up. Desillusionized Gabriel Ogando just

recovered from it years afterwards and joined Marilina Ross,

Marcelo Braga opted instead for a career in music teaching

and Guillermo Medin ended up in the house of Alejandro De

Michele of ‘Pastoral’ in Liniers, West Buenos Aires, studying

Gustavo Beytelmann’s orchestral score for ‘Humanos’.

Alejandro De Michele foreseeing director Beytelmann was

leaving the country in 1976, he convoked keyboardist Guillermo

Medin for implementing same textures for live shows scenarios.

Playback Side B - track #5 : Trio Quistral ‘Tantas Cosas’

http://www.mediafire.com/listen/nlc5re5b76up6fi/Trio+%E2%80%98Quistral%E2%80%99+%E2%80%93+Tantas+Cosas.mp3

OR

http://mfi.re/listen/nlc5re5b76up6fi/Trio_‘Quistral’_–_Tantas_Cosas.mp3