Love Bubu's sole album!

But your second paragraph is news to me! Must say I only discovered South american prog last fall thru this site! So i'm afraid I cannot help you, but your thread has definitely got my attention, I am impatient to know the answer!

I am preparing a rapid translation for you, ok? You have to forgive my english...

Just wait a minute (or an hour..)

"Anabelas" is my all-time fave prog album from Argentina!! I reviewed it and gave it a 5-star rating.

Cesar Inca wrote:   "Anabelas" is my all-time fave prog album from Argentina!! I reviewed it and gave it a 5-star rating.

And a 5 stars more than well-earned!

Sorry, friends. It’s difficult translate it. I present you (full of errors) a brief summary from Sérgio Blostein interview offered to http://www.progresiva70s.com/entrevista_blostein.htm. I really love Bubu and I hope listen new songs or new recordings (live maybe) of them soon. If you don’t understand anything, just ask me. Please notify me of my mistakes.

Talk about Bubu’s origins.

The first drummer, Monín (from Orions Beethoven), presented me Daniel Andreoli (1972). We played as a trio.  So a Daniel’s friend joined to us: Ricardo La Civita, on flute.

I discovered Zappa at 15 years old, so he opened my mind. I joined to Wim’s group (saxophone). Then joined to the band a nephew-grandchild of Neruda: Noelito (violin).

So we were Sion (before Bubu):  Daniel Andreoli (bass), Wim Forstmann (tenor sax), Ricardo La Civita (travers flute), Carlos Noel Reyes (violin), Jorge Liechtenstein (drums) and myself (Sergio Blostein, guitar). We were an instrumental band in the beginning, until appear an Andreoli’s friend: the great poet Tito Santángelo.

Part of these songs were written in earliest bands?

The first band that played these songs, especially "El cortejo de un día amarillo" was Sion, but we were the same band. The original band was renovated, so we changed our name.

You leave the guitar… when you played guitar again?

In 1990, when we record with Wim, Sergio Polizzi (violin) and Gustavo Dinerstein (flute). We record Daniel Andreoli’s “Carnavalito” and Wim’s “Florián”.

What the function of the arranger?

In the beginning, we had a meeting: Andreoli, Wim and me. We choose Andreoli to compose, me to arranger and Wim to productor.

Andreoli is the only composer?

Andreoli brought some compositions, so we were arranging and improvising in it.

However, Wim, Daniel and me had an unique direction to compose together.

Why Andreoli appear as arranger in many places?

It’s ridiculous think a composer, Beethoven for example, was arranger of his symphonies. Andreoli composed Anabelas work, but I arranged it and all of we make improvisations on it. Andreoli had written his lasts compositions directly to the band.

There are new records from Bubu? It will be released?

There are Anabelas pieces with Zavaleta voice, but I don’t know if there is any record of it. Afterwards, me, Daniel Andreoli and Wim recorded in my studio. It depends of his writers to be record.

It’s possible Anabelas to be re-released?

Wim is in Miami checking it. It’s possible a new recording with new songs as bonus tracks.

What were your influences? You talk about Zappa. Did you hear Magma, King Crimson, Gong or Henry Cow?
There were many influences. I and Wim hear much Frank Zappa. Andreoli was very close to King Crimson; Zavaleta, close to Genesis.

Did you make improvisation in shows?

Bubu was fantastic playing alive. It was better than recorded. There were improvisation moments, but there was very rigor as well.

Where is Bubu now?
I work with theatre, studios and television as instrumentist, productor, arranger, etc. Wim is in South beach, Miami. I have contacts with him. Daniel Andreoli lives in Israel, working as cooker, but I don’t believe he leaves the music. Eduardo Rogatti is here in Buenos Aires, I think. Cecilia and Sergio Polizzi followed other musicals tendencies. Polo was in "Los abuelos de la nada" with Miguel Abuelo. Zavaleta in Suéter. Pedro Aznar, worked with other musicals genres and played with Pat Metheny. Daniel Zuker, lead an orquesta, I think. Flek and Polo regrettably are dead. Flek and I were very close.

Have it: http://stevehegede.tripod.com/wiminterview.htm - http://stevehegede.tripod.com/wiminterview.htm

Prog-Brazil wrote: Sorry, friends. It’s difficult translate it. I present you (full of errors) a brief summary from Sérgio Blostein interview offered to http://www.progresiva70s.com/entrevista_blostein.htm. I really love Bubu and I hope listen new songs or new recordings (live maybe) of them soon. If you don’t understand anything, just ask me. Please notify me of my mistakes.     Talk about Bubu’s origins. The first drummer, Monín (from Orions Beethoven), presented me Daniel Andreoli (1972). We played as a trio.  So a Daniel’s friend joined to us: Ricardo La Civita, on flute. I discovered Zappa at 15 years old, so he opened my mind. I joined to Wim’s group (saxophone). Then joined to the band a nephew-grandchild of Neruda: Noelito (violin). So we were Sion (before Bubu):  Daniel Andreoli (bass), Wim Forstmann (tenor sax), Ricardo La Civita (travers flute), Carlos Noel Reyes (violin), Jorge Liechtenstein (drums) and myself (Sergio Blostein, guitar). We were an instrumental band in the beginning, until appear an Andreoli’s friend: the great poet Tito Santángelo. Part of these songs were written in earliest bands? The first band that played these songs, especially "El cortejo de un día amarillo" was Sion, but we were the same band. The original band was renovated, so we changed our name. You leave the guitar… when you played guitar again? In 1990, when we record with Wim, Sergio Polizzi (violin) and Gustavo Dinerstein (flute). We record Daniel Andreoli’s “Carnavalito” and Wim’s “Florián”. What the function of the arranger? In the beginning, we had a meeting: Andreoli, Wim and me. We choose Andreoli to compose, me to arranger and Wim to productor. Andreoli is the only composer? Andreoli brought some compositions, so we were arranging and improvising in it. However, Wim, Daniel and me had an unique direction to compose together. Why Andreoli appear as arranger in many places? It’s ridiculous think a composer, Beethoven for example, was arranger of his symphonies. Andreoli composed Anabelas work, but I arranged it and all of we make improvisations on it. Andreoli had written his lasts compositions directly to the band. There are new records from Bubu? It will be released? There are Anabelas pieces with Zavaleta voice, but I don’t know if there is any record of it. Afterwards, me, Daniel Andreoli and Wim recorded in my studio. It depends of his writers to be record. It’s possible Anabelas to be re-released? Wim is in Miami checking it. It’s possible a new recording with new songs as bonus tracks. What were your influences? You talk about Zappa. Did you hear Magma, King Crimson, Gong or Henry Cow? There were many influences. I and Wim hear much Frank Zappa. Andreoli was very close to King Crimson; Zavaleta, close to Genesis. Did you make improvisation in shows? Bubu was fantastic playing alive. It was better than recorded. There were improvisation moments, but there was very rigor as well. Where is Bubu now? I work with theatre, studios and television as instrumentist, productor, arranger, etc. Wim is in South beach, Miami. I have contacts with him. Daniel Andreoli lives in Israel, working as cooker, but I don’t believe he leaves the music. Eduardo Rogatti is here in Buenos Aires, I think. Cecilia and Sergio Polizzi followed other musicals tendencies. Polo was in "Los abuelos de la nada" with Miguel Abuelo. Zavaleta in Suéter. Pedro Aznar, worked with other musicals genres and played with Pat Metheny. Daniel Zuker, lead an orquesta, I think. Flek and Polo regrettably are dead. Flek and I were very close.

Well done-true International Aid