Horacio Borraro - 1975 - Blues para un Cosmonauta

Horacio Borraro

1975

Blues para un Cosmonauta

01. Lineas Torcidas 9:17

02. Blues Para Un Cosmonauta 7:21

03. Cancion De Cuna Para Un Bebe Del Año 2000 6:40

04. La Invasion De Los Monjes 10:43

05. Mi Amigo Tarzan 9:07

Contrabass – Jorge Gonzalez

Design – Hernán Magliano

Percussion – Nestor Astarita

Percussion, Effects – Miguel "Chino" Rossi

Piano, Synthesizer  – Fernando Gelbard

Saxophone, Organ, Piano, Synthesizer, Xylophone, Percussion, Recorder – Horacio "Chivo" Borraro

Recorded at ION between July 18 and October 13, 1973.

Fans of Coltrane will certainly dig this historical 1970s spiritual jazz album from Argentina which left an everlasting imprint in the local jazz scene. From the eerie "Blues para un cosmonauta" —which could easily fit in the Twin Peaks soundtrack—, to the majestic "Líneas Torcidas" or the mid-tempo groove of "Mi amigo Tarzán", new landscapes in jazz are explored without hiding, at moments, the musicians' bebop pedigree. Venturing into uncharted dimensions, the album breaks with traditionalism and combines jazz and new electronic instruments into a contemporary concept that is both cosmic and sensual, a sound where timbre and space play a crucial role. Here, no track sounds like the other.

The charismatic, multifaceted saxophone player Horacio "Chivo" Borraro is joined here most notably by Fernando Gelbard —who pioneered electronic keyboards and analog synths in Argentina, playing here Fender Rhodes and Minimoog— and Brazilian musician Stenio Mendes —who plays the 12-string craviola and contributes two tracks. Jorge González on bass and Néstor Astarita on drums —both part of Gato Barbieri's rhythm section in the early 60s— and Chino Rossi —responsible for much of the unusual percussion and special effects that give the album its unprejudiced aura— complete the line-up of Blues para un Cosmonauta.

A sweet set of 70s spiritual jazz from Argentine tenor player Chivo Borraro – one of his best albums of the time, and a really wonderful session with lots of nice touches! The record features Borraro playing keyboard effects, in addition to his usual tenor – and it also features some additional keyboards by Fernando Gelbard, who plays both Fender Rhodes and ring modulator on the album, working things wonderfully as he did on his own albums of the time. This wealth of keyboards gives the album a spacious feel – keys soaring out into space, creating platforms for solo work on sax, and a space to showcase the talents of Stenio Mendes, who plays the 12-stringed craviola on the album. There's lots of post-Coltrane exploration to the record.