Tracks:
01. I (2:20)
02. II (2:14)
03. III (5:39)
04. IV (2:16)
05. V (2:05)
06. VI (1:25)
07. VII (4:54)
08. VIII (3:48)
09. IX (4:41)
10. X (5:32)
Personnel:
Personnel:
Lluis Escarrá - guitar
Josep Font - bass
Josep Maria Trotta - keyboards
Quim Pratdesaba - drums
Croma was a jazz symphonic group formed in the second half of the 70s, with Toni Puig as sound technician. Recently Lluis Escarrá has been in charge of compiling the themes of that time in a CD that wants to titled as "Double Cos".
I would put them musical or stylistically between Gotic, Atila or Iceberg. Their Laietan jazz rock, although they claim to belong to the Magic environment, has accelerated moments contrasting with more symphonic moments, this last product of his keyboardist Josep Maria Trotta. His best subject, which occupies the sixth place, still without title, where Atila sounds very much in some instrumental passage.
"We were more of the environment of the Magic, not of the Zeleste of which they were La Mirasol and others. We acted a lot of times in the Magic, and from there we went in August 1977 to the Calella Camping Rock, acting in front of Triana. The rehearsal room we had in Torelló, because two of the members of the group were from there, so we were somewhat disconnected from the Barcelonesa wave, something like Atila, who were from Gerona. Of course, in what is known as "the flat of Vic" we were the kings (there was no one else) I was about 6 years younger than the other members of the group, which at 18-20 years is noticed, and I do not It was more than playing the guitar and thinking about the aunts.
"We lived from '75 to '78 and we made this recording in '79. We produced it, in a semi professional studio, in 1979" with an 8-track tape recorder, "At that time no one recorded. It had to be very good and be very well connected, which we neither. " "The only one who knew anything about music was the keyboards, Jose Mª Trotta, who already died (that's why we will never re-record)." Over the years we recovered it and we were able to digitize it. So, with the computer, at home, I dedicated myself to go polishing the subjects, removing noises and erasing pieces with failures. I also have to say that I re-did some pieces of guitar and bass and some mellotron, but it was not saved if not, but it is not even a 2% "new" (Lluis Escarrá, 2015)
Croma was a jazz symphonic group formed in the second half of the 70s, with Toni Puig as sound technician. Recently Lluis Escarrá has been in charge of compiling the themes of that time in a CD that wants to titled as "Double Cos".
I would put them musical or stylistically between Gotic, Atila or Iceberg. Their Laietan jazz rock, although they claim to belong to the Magic environment, has accelerated moments contrasting with more symphonic moments, this last product of his keyboardist Josep Maria Trotta. His best subject, which occupies the sixth place, still without title, where Atila sounds very much in some instrumental passage.
"We were more of the environment of the Magic, not of the Zeleste of which they were La Mirasol and others. We acted a lot of times in the Magic, and from there we went in August 1977 to the Calella Camping Rock, acting in front of Triana. The rehearsal room we had in Torelló, because two of the members of the group were from there, so we were somewhat disconnected from the Barcelonesa wave, something like Atila, who were from Gerona. Of course, in what is known as "the flat of Vic" we were the kings (there was no one else) I was about 6 years younger than the other members of the group, which at 18-20 years is noticed, and I do not It was more than playing the guitar and thinking about the aunts.
"We lived from '75 to '78 and we made this recording in '79. We produced it, in a semi professional studio, in 1979" with an 8-track tape recorder, "At that time no one recorded. It had to be very good and be very well connected, which we neither. " "The only one who knew anything about music was the keyboards, Jose Mª Trotta, who already died (that's why we will never re-record)." Over the years we recovered it and we were able to digitize it. So, with the computer, at home, I dedicated myself to go polishing the subjects, removing noises and erasing pieces with failures. I also have to say that I re-did some pieces of guitar and bass and some mellotron, but it was not saved if not, but it is not even a 2% "new" (Lluis Escarrá, 2015)
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