El Arca de Valjós - Water Nimphs (2015, Mexico)

El Arca de Valjós is the personal project of Raúl Valverde, a veteran militant of the Progressive Rock, Avantgarde and Experimental scene in Mexico; Composer and guitarist of the cult band Stultifera Navis, a band that alternated in that mythical show that the legendary Univers Zero gave in Ecatepec in 2009.
El Arca de Valjós turns out to be his most personal project from 2012, where he develops an Avant-Progressive sonic luck that recapitulates many of the academic-musical schools of the last 120 years, resulting in a kind of visual-plastic evocation that they have as a vehicle the music that from its beginnings has attracted the attention of listeners outside of Mexican territory who have enthusiastically reviewed his work for years, reaching lands as distant as some ex-Soviet republics as well as some European countries.

Taberna Mylaensis ‎– Populu E Santi (1976, LP, Italy)

Pubblicato in Italia all' inizio del 1977 dopo ''Fammi Ristari 'Nto Menzu Di To Brazza" (1976), il secondo album. In questo lavoro il prestigioso gruppo Siciliano, che nel 1976 aveva suonato anche nel celebre festival del Parco Lambro ed accompagnato Francesco De Gregori in tour, raccoglie canti di lavoro, canzoni d'amore, canti di carcerati, canti religiosi e profani, tarantella e ninne nanne. La Taberna Mylaensis, il prestigioso gruppo folk di Milazzo (l'antica Milae) nasce durante il folk revival degli anni settanta sotto l' impulso e la guida di Luciano Maio che avvia il recupero della grande tradizione musicale della Sicilia: canti di lavoro, che scandivano ritmicamente, una stagione dopo l'altra, la fatica dei vendemmiatori e dei mietitori, ma anche canti religiosi, d'amore, di rabbia e di protesta. Un recupero musicale che abbraccia diversi secoli: dal Cinquento all'Ottocento, dai canti dell'isolamento e della solitudine a quelli che ruotano attorno alla delusione post-risorgimentale, alle lotte contadine, all'occupazione delle terre. Tutto cio' si identifica in una espressione musicale che diviene prima di tutto musica del mediterraneo cioe' una musica che suona come un incrocio di culture, con la musica del progetto che va aprendosi, disco dopo disco, ad influenze multietniche ed anche al rock. (RockBottom)

Loy & Altomare ‎– Lago Di Vico (M. 507) (1979, LP, Italy)

In the early seventies Checco Loy and Massimo Altomare decided to form a group after their names, following other famous examples as Simon & Garfunkel. They both are just twenty. They meet in England, and the symbiosis melts for one and for the other uncertainties and hesitations. CBS signs them and in 1973 their first album “Portobello” is released. A year later they released “Chiaro” but after a long period of silence begins.

When five years later, thanks to CGD, the duo is finally back on the market, it's time for “Lago di Vico (m. 507)”, produced by Vito Alberto Pirelli, who a few years later founded the I.r.a. record company, launching, among others, Litfiba and Diaframma. Times have changed since the first half of the decade and the album is a mirror of this important change, where the social wounds become the protagonists of a stylistic hardness influenced – even just a little bit – by the new sounds of punk and hard rock. For the audience the album is not a big hit, because radio stations, except maybe for those more involved in the ‘social revolution’, refuse to play the record. But that’s the reason why it was a cult album in the Seventies’ Italian rock.

Le Grand Magic Circus Et Ses Animaux Tristes ‎– Le Grand Méchant Cochon Et Les Trois Gentils Petits Loups (1974, LP, France)

Created by Jérôme Savary in Paris in 1965, The Grand Magic Circus (and its sad animals) is an offbeat theatrical company which has benefited from the participation of authors such as Alejandro Jodorowsky, Fernando Arrabal or Roland Topor ... At the borders of the theater, from the circus and the music hall, Jérôme Savary and his troupe have designed surprising, delirious, poetic shows bordering on surrealism. Whether they seize on great classics like La Périchole (Jacques Offenbach), Rigoletto (Giuseppe Verdi), The Barber of Seville (Gioacchino Rossini) ... or contemporary creations like Cabaret (Joe Masteroff), La Légende de Jimmy ( Michel Berger & Luc Plamondon), Zazou (Jérôme Savary), Y a d'la Joie (Jacques Pessis & Charles Trénet), Marylin Montreuil (Jérôme Savary & Diane Tell), it is always with as much fervor, generosity, imagination, delirious fantasy and an invigorating sense of celebration.

La 1919 Spontaneo ‎– L'Enorme Tragedia (1985, Cassette, Italy)

La 1919 (aka La 1919 Spontaneo) are a Milanese avant-progressive band that first started life in September 1980. The brainchild of Luciano Margorani (born 19th July 1961, in Milano) and his friend Piero Chianura, the band have released five albums to date. Their sound is electronic-based, but still consists of traditional rock-band instruments, such as electric and bass guitar (with assistance by clarinets and saxophones on later releases). Mostly though, the band uses keyboard effects and tape looping, combined with a Frippian and Frithian guitar sound, supplied by Margorani (much more evident on their second and third releases), with overlying electronic drums, culminating in a unique sound that flirts with jazz, no-wave, post-punk and electronica, yet is remarkably progressive rock in its basic state.
From 1982 to 1983, La 1919 were part of the "Cooperativa L’Orchestra” of Milan and they eventually released their debut album L’enorme tragedia on cassette only in 1985.

Vinize ‎– Percorsi Immaginari (1992, LP, Italy)

The album is a musical trip with tracks ranging from electronic music to ambient music. A progressive fusion with the use of sinth that connote an experimental and avant-garde vision. There is no information on the author of this very rare collectible pearl, registered in Milan in 1992. I wish you a good musical trip.

Rovi (Piero Umiliani) ‎– Storia E Preistoria (1972, LP, Italy)

Esteemed composer Piero Umiliani released scores of music in his lifetime from the famous to the obscure, but his forays into jazz continue to be a delight for diggers the world over. Here Galaxy present Storia E Prehistoria, recorded under his alias Rovi and originally released in 1972.

It’s a stirring collection of music that touches on soundtrack themes throughout, capturing the sound of the era impeccably while sporting Umiliani’s inimitable touch in the same breath. The album is full of sumptuous orchestrations of brass, keys, harp and more besides, each piece loaded with romance and cool as could only come from Italy.

Daevid Allen Weird Quartet ‎– Elevenses (2016, CD, Australia)

Songs:

1. TransLoopThisMessage (1:30)
2. Imagicknation (3:56)
3. The Latest Curfew Craze (3:47)
4. Kick That Habit Man (4:13)
5. Secretary Of Lore (3:35)
6. Alchemy (4:08)
7. The Cold Stuffings Of November (3:00)
8. Grasshopping (4:20)
9. God's New Deal (2:13)
10. Dim Sum / In Alphabetical Order (3:07)
11. Killer Honey (3:15)
12. Under The Yum Yum Tree Cafe (5:33)
13. Banana Construction (5:17)

Musicians:
Daevid Allen / guitar, vocals
Don Falcone / keyboards (organ, synths, piano, Farfisa, sinewave, cello, strings), bass (6), guitar (8), accordion (9), drone (10), electric percussion (4,9), drums (7), djembe & kalimba (8), samples ("sounds") & arrangements, producer
Jay Radford / electric & 12-string guitars and bouzouki (9)
Michael Clare / bass, arrangements
Trey Sabatelli (The Tubes) / drums (3,5,6,12,13)
Paul Sears (The Muffins) / drums (1,2,4,8,10,11), synth (7)

"This album represents the final album from legendary Daevid Allen, one of the most innovative music artists to emerge from this planet! Daevid Allen Weird Quartet is a recording project bringing together Daevid Allen, founder of The Soft Machine and Gong, with Don Falcone of Spirits Burning, Michael Clare of Daevid Allen's University of Errors, and drummers Trey Sabatelli (The Tubes) and Paul Sears (The Muffins). Elevenses is the second album by this band, following 2005's DJDDAY, which was released under the band name Weird Biscuit Teatime. Daevid Allen Weird Quartet Elevenses is the last band album that Daevid worked on before his death, in March of 2015.

Christopher David Allen (13 January 1938 - 13 March 2015), better known as Daevid Allen, sometimes credited as Divided Alien, was an Australian and had a brilliant career as a poet, musician, artist, and one-time cab driver that spanned over fifty years. Daevid was constantly pushing boundaries and was always the center of activity. He continually inspired those around him to be creative and to achieve their best.

The Daily Telegraph said, Allen revelled in being the court jester of hippie rock and never lost his enthusiasm for the transcendent power of the psychedelic experience. He once remarked, "Psychedelia for me is a code for that profound spiritual experience where there is a direct link to the gods." That he never attained the riches and fame of many of his contemporaries did not concern him.

Daevid Allen Weird Quartet Elevenses album is a mixture of styles of music found throughout his career, plus a few surprises: a blues song in 7/4, a catchy Irish-tinged folk song, ambient and explosive instrumentals, a post-punk rave-up with Daevid's final message on a record."

Julverne ‎– À Neuf (1980, CD, Belgium)

Side 1
1. 3 pièces apareillées (14:51)
- Pasticcio 3:37
- Un peu prétentieux 8:25
- Polka 2:49
2. Spiering (7:47)
Side 2
1. Impuissance (6:20)
2. La joie Parfaite (0:49)
3. Infarctus (5:05)
4. Layettes (10:04)

Musicians:
Bassoon, Oboe – Michel Berckmans
Cello, Vocals – Denis Van Hecke
Clarinet – Philippe Duret
Double Bass – José Bedeur
Flute, Alto Saxophone – Pierre Coulon
Piano – Charles Loos (5)
Piano, Flute – Jean Paul Laurent
Vibraphone – Baudouin Dehaye (4)
Violin [Alto] – Jean-François Lacroix
Violin, Tuba – Jeannot Gillis

Julverne recorded soon a second album, ''A neuf'' at Studio Caramelle with an expanded 10-piece line-up.No Jean Coulon, Richard Rousselet, Anne Denis or Michel Dayez around, instead Pierre Coulon would welcome Michel Berckmans of Univers Zéro and Art Zoyd fame on bassoon, Cos' pianist Charles Loos, bassist Jose Bedeur, Baudouin Dehaye on vocals, Philippe Duret on clarinet and Jean-Francois Lacroix on sax.A change of label also occured with Julverne producing their second album on the newly established Crammed label of Cos and Aksak Maboul's composer and leader Marc Hollander.This work came out in 1980.

Again the style of Julverne was an eerie and ethereal Chamber Rock with dominant wind instruments and lots of Classical piano lines, offering music that can be dramatic and positive at the same time.The absence of rock instruments may cause some confusion to the average fan of Progressive Rock or even R.I.O., but the impressive level of individual performances and the intricate compositions are rewarding for fans of Classical and even Fusion music.Julverne's new album has tons of haunting moments with clarinets and saxes in evidence next to melancholic violins and cellos.However there are also plenty of dreamy instrumental parts like performed by a small orchestra, mainly led by elegant flutes and smooth piano.At times the atonal music flirts even with the Avant-Garde fields, but on the whole the pieces performed have a strong 19th century vibe akin to UNIVERS ZERO and ART ZOYD's works.The musicianship is rich and fairly complex as expected, but again some more depth into a slighty rockier approach possibly would have made ''A neuf'' a bit better.

A pure highlight for lovers of Classical Music and Chamber Rock in the vein of UNIVERS ZERO and AFTER CRYING as well as R.I.O. fanatics.But this should be given also a small chance by some more people due to the excellence and professionalism of this ensemble.Warmly recommended. (app79)

Arrigo Barnabé ‎– Gigante Negão (1998, CD, Brazil)

Alexandre Kush/Bernard Lamastre ‎– Secrets - Musiques D'Angoisses Et De Tension (1986, LP, France)

Very suspenseful library music from France. Each track is filled with dark synthesizer work and holds the notes long enough to make you unconformable. While there is some very tense tracks like Tension Time and Frénétique there are also some incredibly moving and beautiful tracks here like Pagan Ceremony and Secrets. The former sounding like blissful ambient music like something Novisad would make. The latter starting off sounding like a third wave post-rock song but evolving into this holy ballad with electronic influence. There's a great clash of feelings in the record and it's definitely not one-dimensional spooky music. Another highlight is the track Nerphretics which starts with a sample of someone breathing heavily while adding in these simple, but hard drops in the music that's like someone is stomping towards you. The synths then creep in adding another layer of weirdness to the mix. The four Tension Time tracks are also very neat. They sound like samples from even older horror movie soundtracks (we're talking like the 20s-40s). They're all incredibly similar but none lasts longer than a minute and it really works. It's a fitting end to the record.
The cover art is also phenomenal. It depicts the moods of the record perfectly. This record is like the soundtrack to some obscure 80s cheesy horror movie. It doesn't take itself too seriously but doesn't come off as too "spooky" either. Overall, it's an excellent record that definitely stands alone amongst many library records and also a standout in the horror synth genre. If you're looking for something to satisfy your Halloween night I would definitely recommend this record. (BrothermanTrill)

Bobby Beausoleil & The Freedom Orchestra ‎– Lucifer Rising (1980, LP, Usa)

Tracklist:
1. First Movement (4:17)
2. Second Movement (6:04)
3. Third Movement (5:47)
4. Fourth Movement (1:49)
5. Fifth Movement (15:48)
6. Sixth Movement (10:15)

Musicians:
Bobby Beausoleil / electronic guitar, bass
Freedom Orchestra (Tracy State Prison, California) :
Steve Grogan / electric guitar
Richard Sutton / electric keyboards, Fender-Rhodes
Tim Wills /Fender-Rhodes piano
Chuck Gordon /bass
Randall Chalton /drums
Andy Thurston /drums
Herbie Rascone /trumpet
Robert Gadbury / noises ("sparks")
David LaFlamme / violin (2.1, 2.2)

Lucifer Rising
By Bobby Beausoleil and The Freedom Orchestra
Lethal Records, 1980

After many years of dabbling in snippets, I finally watched all 29 minutes of Kenneth Anger’s cult occult film Lucifer Rising. Shot between 1966 and 1972 but not distributed until 1980, the short is about, according to the director in 1966, “the Rebel Angel behind what’s happening in the world today,” and the inception of a liberatory new age founded on Aleister Crowley’s maxim that “the Key of Joy is Disobedience.” While there are a number of striking images in Lucifer Rising—Anger is a founding figure in independent, experimental, and gay cinema—the most compelling feature of the film is its soundtrack. In keeping with the satanic theme, it was composed by former Manson Family member and convicted murderer Bobby Beausoleil while in prison.

Briefly, here is how it all happened. Anger originally offered Beausoleil the role of Lucifer, and Beausoleil accepted, under the condition that he be able to score the soundtrack. Anger agreed, and filming began in 1966, while Beausoleil was living with the director in a ramshackle Victorian house on Haight-Ashbury. The two had a falling out in 1967, and Beausoleil moved to Los Angeles. Anger went off to London shortly thereafter, where he met Mick Jagger and asked him to play Lucifer. Jagger passed, but did write a soundtrack one night using his new Moog. Both Jagger’s score and the extant footage of Beausoleil were used in Anger’s 11-minute Invocation of My Demon Brother (1969). Jagger’s brother Chris, at Mick’s suggestion, ended up being cast as “the bringer of light,” and Lucifer Rising was shot, haphazardly, between 1970 and 1972.

Once again, however, Anger had no music. But in 1973 he met Led Zeppelin’s Jimmy Page at a Sotheby’s auction in London, where both were bidding on an Aleister Crowley manuscript (or personal item; the story changes). The two got along, Anger asked him to do the soundtrack, and Page started working on some ideas at his home studio in Scotland’s secluded Boleskine House, Crowley’s former residence. By 1976, Page still had no complete film to view, and Anger, who had been kicked out of Page’s London home by the musician’s girlfriend, Charlotte Martin, accused Page publicly of being washed up. (The Page soundtrack, a droning ambient affair, was first released in 1987.) There are different versions of what happened next, but the most likely scenario is that Beausoleil learned about the break with Page, which was publicized in the music press, and wrote Anger from Tracy Prison in Northern California offering to complete the job he had wanted all along. Anger gave him $3000, and the soundtrack was completed in 1979. A limited release LP containing Beausoleil’s complete recordings followed in 1980.

While Lucifer Rising (and all of the Anger films I’ve seen) contains a great deal of kitsch and ostentation, Beausoleil’s music has a sinister, ethereal, interdimensional majesty that is entirely convincing, despite a few sloppy moments that are inevitable given the limited and regimented practice time (a number of his fellow inmates contributed to the project; Beausoleil called them the Freedom Orchestra). In effect, it’s the music, not the film, that delivers on Anger’s revolutionary premise. Beausoleil ended up building much of the equipment and many of the instruments himself, and devised some extraordinary sounds combining processed guitar, EBow, keyboards, and effects pedals. While clearly drawn from the harmonic minor psych-rock of pre-Dark Side of the Moon Pink Floyd, particularly 1972’s Live at Pompeii, there are jazz and ambient flourishes as well, including brilliant use of trumpet and the Fender Rhodes.

Beasoleil, writing in 2014, described his mindset during the experience:

When I composed and recorded the soundtrack for a re-conceptualized Lucifer Rising a decade later I drew upon my own life experiences to tell the story in music evocative of the mythical Lucifer awakening from his pit of despair, rekindling his torch, and rising like a phoenix from the ashes of his own unmaking.

One of the life experiences he’s referring to is the torture and murder of a music teacher and his former roommate, Gary Hinman. When Beausoleil moved out of Anger’s San Francisco pad in 1967, he traveled south and got involved with Manson and his cult in Los Angeles, playing guitar on what would become Manson’s first LP, 1970’s LIE: The Love and Terror Cult. On July 25, 1969, Manson sent Beausoleil to Hinman’s Topanga Canyon home, either to recoup $1,000 for bad drugs or steal a rumored inheritance. Beausoleil held him hostage and beat him for three days while Hinman repeatedly insisted that he had no money. At one point, Manson arrived briefly with a sword, slashing Hinman’s face and nearly cutting his ear in two. Manson gave the order on late Sunday, and Beausoleil stabbed Hinman twice in the heart with a Bowie knife, wrote “POLITICAL PIGGY” on the wall in Hinman’s blood (an attempt to implicate the Black Panthers), and fled in one of Hinman’s cars. He was picked up a week later by the police, passed out in the same car.

“I killed a man by the name of Gary Hinman by stabbing him twice,” Beausoleil told the commissioner at his 2008 parole hearing. “That’s the bare bones facts of it. I didn’t have a very good reason. In fact, the reason that I had that seemed so important at the time was petty. It’s selfish.” This was the first murder attributed to the Manson Family, who he has defended since his conviction. He believes—and he may be right—that the eight murders Manson subsequently ordered were meant to avert suspicion from Beausoleil.

Probably it’s a coincidence, but there is a scene in Lucifer Rising where a High Priest (Chris Jagger, who Anger fired mid-production) spears and kills a woman running through a forest, and is afterwards seen clutching a dagger drenched and dripping with blood. (An organ shimmers, cymbals pile, a guitar flange oscillates like a theremin.) He is naked, and blood smears his body. Blankly, he climbs into a bathtub, lays down, and plunges himself under the water. He is then reborn (The darkly melodic theme resounds on the low register of Beausoleil’s guitar) into a High Priestess (Marianne Faithfull), who summons Lucifer. The “birthday party for the Aquarian Age,” the “age of the child,” the age of selfish disobedience, has begun.

—K.E. Roberts

Ex Ovo Pro ‎– European Spassvogel (1976, LP, Germany)

Tracklist:
A1 European Spaßvogel  4:00
A2 Mr. & Mrs. Scrooples Lament  3:15
A3 What's The Deal  4:42
A4 It's Rainin' In My House  4:22
B1 Don't Forget The Master  4:13
B2 In A Locrian Mood  9:50
B3 Happy Sounds  4:05

Musicians:
Bass – Max Köhler
Drums – Harald Pompl
Electric Piano, Synth – Hans Kraus-Hübner
Guitar – Roland Bankel
Saxophone, Bassoon – Mandi Riedelbauch


Yet another fine German fusion band from the late 1970s. Both albums play a typical Eurofusion with melodic wind lines (generally supplied by sax with some flute), some good deep grooves and acid-y guitar solos and some standard late 70's CTI fusion. I could see this being the 5th or 6th Secret Oyster album if that makes sense. At its best, similar to groups like Missus Beastly or the Canterbury scene. (ashratom)

Morse Code ‎– ... D'un Autre Monde (1994, CD, Canada)

ATP ‎– I Profeti Uomini Dell'Utopia (1980, LP, Italy)

Lato A
A1 - Nasce ...
A2 - Perchè Proprio Io?
A3 - Mi Hai Costretto
A4 - Come Alberi Chiusi
A5 - La Vigna
Lato B
B1 - Israel Perchè Piangi?
B2 - Terra Straniera
B3 - Il Banchetto
B4 - Anche Se...
B5 - Immagine Nuova

Musicisti
Batteria : Enea Lettera
Basso : Sergio Podofillini
Chitarra Acustica : Mauro Accorsi
Chitarra Elettrica : Pino Santapaga
Armonica : Gigi Lacchini
Flauto : Otello Azzali
Mandolino : Alberto Ferretti
Tastiere : Anaw (Cesare Regazzoni)


Gli ATP furono un complesso di sei elementi, guidato da Cesare Regazzoni, in arte Anaw. Si tratta di una formazione musicale di ispirazione cattolica, che nel 1980 diede alle stampe il suo secondo album, dal titolo "Profeti, uomini dell'utopia". L'ispirazione prog emerge in diversi punti nei dieci brani che compongono l'album, in particolare nell'utilizzo dei flauti, delle tastiere e dei cori. Buona la voce femminile, non accreditata nelle note del disco. I testi sono, come già anticipato, di ispirazione religiosa.

Wobbler - Demos (2003, Unreleased, Norway)

Tracklist:
1. Imperial Winter White Dwarf -14:49
2. Leprechaun Behind the Door - 13:19

Recorded at LFF Studios in 2002/2003. Songs originally from 1999.

Knead ‎– Knead (2002, CD, Japan)

Tracklist:
1. らしからぬ事とは　この様な事　どっちのせいで　こうなる - 16:41
2. 廃虚に　響き渡る　「いつもと同じ」という　永遠からの言霊 - 6:53
3. 「これだけが正義」と言い切る　奴と同じ空気を吸っているなんて - 7:11
4. 自分がどっちに傾いているか　確かめてごらん - 5:24
5. 粉々になってしまう　好きに　好きに　大好きに　なると - 13:37
6. すべてが　同時に　同じ事を　祈ることが　出来たらいいのに - 16:09
7. もっと大好きに　なったら　どうなる - 1:20
8. 舞い降りてくる　次の気配は　そして　どのように　練られるのか？　君とは　どういう　関係になる - 8:26

Musicians:
Bass – 佐々木恒 Sasaki Hisashi
Drums, Voice – 吉田達也 Tatsuya Yoshida
Vocals, Guitar, Lyrics By, Producer, Design – 灰野敬二 Keiji Haino

First release by a Japanese supergroup that teams Keiji Haino with Ruins

Giorgio Gaslini - La Porta Sul Buio (1973, Italy)

Tracklist:
1. Una cosa nuova (Titoli) - 2:13
2. Il Vicino di Casa (Suite) - 8:22
3. Testimone Oculare (Suite) - 6:23
4. Il Tram (Suite) - 12:05
5. La Bambola (Suite I) - 4:04
6. La Bambola (Suite II) - 10:19

LA PORTA SUL BUIO series
TESTIMONE OCULARE / IL TRAM / LA BAMBOLA / IL VICINO DI CASA

A Soundtrack release of the "Gialli TV" (an Italian Gialli series produced for the Italian Television directed by "Dario Argento")

Etron Fou Leloublan ‎– Les Trois Fou's Perdégagnent (Au Pays Des...) (1978, LP, France)

Face 1
1. Face à l'extravagante montée des ascenceurs, nous resterons fidèles à notre calme détermination (6:13)
2. Le fleuve et le manteau (7:48)
3. Percutant reportage au pays des fées (0:35)
4. a) Recherche pour un journal, des lunettes, une pipe et un bérêt
b) 13h 58, ou les petites aventures du médecin chef
c) je veux danser avec toi (Artman Inspiration) (5:53)
Face 2
1. le désastreux voyage de piteux Python (10:40)
2. P.O.I. (Pourissement des organes intérieurs) (6:56)
3. Nave de bilande (3:00)

Musicians:
Alto Saxophone, Tenor Saxophone, Melodica, Flute, Harmonica, Zither, Vocals – Francis Grand
Bass, Vocals – Ferdinand Richard
Drums, Percussion, Performer [Yoyos], Whistle, Percussion, Vocals – Guigou «Samba Scout» Chenevier
Guitar – Verto (tracks: A1 to A4)
Handclaps – Denis (18) (tracks: B1 to B3), Serge (22) (tracks: B1 to B3)
Voice – Michel Grezes (tracks: B1 to B3)

Egberto Gismonti ‎– Água & Vinho (1972, CD/LP, Brazil)

Tracklist:
A1 Ano Zero
A2 Federico
A3 Janela De Ouro (A Traição Das Esmeraldas)
A4 Vila Rica 1720
A5 Pr' Um Samba
B1 Água & Vinho
B2 Volante
B3 Eterna
B4 Tango
B5 Mulhé Rendeira

Musicians:
Piano, Acoustic Guitar, Organ, Bass, Drums, Percussion, Organ, Harmonica, Voice – Egberto Gismonti
Drums – João Palma
Voice – Dulce Bressane
Acoustic Guitar – Piri
Drums, Percussion – Robertinho Silva
Bass, Percussion – Novelli
Saxophone, Clarinet – Paulo Moura
Cello – Alceu De Almeida Reis, Anna Bezerra De Mello Devos, Atelisa De Salles, Edmundo Oliani, Giorgio Bariola, Marcio Eynard Mallard, Gerhard Peter Dauelsberg, Rafael Jannibelle
Strings – Associação Brasileira De Violoncelo