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