Progarchives, the progressive rock ultimate discography



Prog Folk

From, the ultimate progressive rock music website

Congreso Ha Llegado Carta album cover
3.85 | 21 ratings | 1 reviews | 19% 5 stars

Write a review
from partners
Studio Album, released in 1983

Songs / Tracks Listing

1. Canción Didáctica #1 (2:41)
2. En El Patio De Simón (3:33)
3. El último Bolero (3:27)
4. Sur (4:57)
5. Primera Procesión (6:45)
6. ... Y Entonces Nació (4:24)
7. Se Desplomen Los Armarios (que Florezca El Sentimiento) (4:24)
8. Ha Llegado Carta (8:20)
9. Ingreso A La Hiperbórea Del Sur (4:14)

Total time 42:45

Line-up / Musicians

- Joe Vasconcellos / vocals, percussion, trutruca, tarka, zampona
- Fernando González / guitar, composer
- Anibal Correa / piano
- Hugo Pirovic / flute, recorder
- Patricio González / cello, acoustic guitar, charango
- Ernesto Holman / electric bass
- Sergio González / drums, percussion
- Ricardo Vivanco / marimba, percussion

- Orquesta Juvenil De La Facultad De Arte De La Universidad De Chile / orchestra (4)
- Genaro Burgos / conductor (4)
- Mariela González / vocals (2)
- Simón / toy dog sound (2)

Releases information

Artwork: Patricio González

LP EMI ‎- 4395 (1983, Chile)

CD EMI ‎- 8 34698 2 (1995, Chile) Remastered

Thanks to clemofnazareth for the addition
and to Quinino for the last updates
Edit this entry

Buy CONGRESO Ha Llegado Carta Music

More places to buy CONGRESO music online Buy CONGRESO & Prog Rock Digital Music online:

CONGRESO Ha Llegado Carta ratings distribution

(21 ratings)
Essential: a masterpiece of progressive rock music(19%)
Excellent addition to any prog rock music collection(43%)
Good, but non-essential (29%)
Collectors/fans only (10%)
Poor. Only for completionists (0%)

CONGRESO Ha Llegado Carta reviews

Showing all collaborators reviews and last reviews preview | Show all reviews/ratings

Collaborators/Experts Reviews

Review by Cesar Inca
SPECIAL COLLABORATOR Honorary Collaborator
4 stars For Gongreso, the Joe Vasconcellos-era was particularly relevant, since it was the time when the band began to expand its musical horizons and reevaluate its core style. Being a musician himself besides the lead singer who was in command of Francisco Sazo's replacement, Vanconcellos allowed the band's instrumental scheme to get further enriched. Of course, the other critical elements were provided by Aníbal Correa's piano and Ricardo Vivanco's percussions, both being talented fusionesque minds. Holman's bass properly enhanced the versatile rhythm section. Up to this moment, Congreso had never been this punchy, and yet, the band was capable of maintaining its delicate sense of melody and texture intact, spotless, immaculate. This is my personal favourite of both Vanconcellos-era albums. The opener (why is it so brief?) is a showcase for funny genius. It's a happy song based on Andean moods but delivered with calypso-like instrumentation: it is as if some Bolivian shepherds had been sequestered and taken to a Central America jungle forest, and they had decided to write a song yearning for their homeland with the instruments that were available, plus a guest just arriving from a Brazilian Carnival. Go figure! On the other hand, 'En el Patio de Simón' is a very melancholic song, a delicate acoustic ballad that seems to hide a burning flame behind its tenuous curtain of sound; continuing with the romantic note, 'El Último Bolero' brings reveries of lost loves. From 'Sur' onwards we are given a present of musical intensity, radiant as the un shining joyfully on an exotic sky. 'Sur' is a mysterious orchestral layer in which the strings portray dense textures, at times slightly dissonant, always dreamy. It is mostly a prelude to the explosion of 'Primera Procesión', a robust exercise on Latin-jazz-fusion delivered with infinite elegance and pristine energy. 'Primera Procesión' is an emblematic showcase for Congreso's artistic finesse. '...Y Entonces Nació' finds the band retreating toward the realms of controlled dissonance of track 4, albeit a bit less mysterious and a bit more contemplative. The perfect confluence among all musicians must also be mentioned as a major asset for this track, as well as for 'Primera Procesión'. Correa particularly shines here. 'Se Desplomen los Armarios' is a jazz-pop semi-ballad that sets a clear candidness in the sung parts, while the instrumental interlude makes room for dynamic complexity cleverly designed to complement, not interrupt the main motif's melodic lines. The album's highlight is the namesake instrumental, a fascinating example of how you can mix some Canterbury, some Return to Forever and some RIO (sans the creepy factor) within the boundaries of Latin American rock-fusion. The succession of chamber-inspired stuff, free improvisation bridges and folkish nuances brings a colorful apoteosis for the track's development - 8+ minutes of musical glory. The closure is a piano solo piece taken from a live concert - the final applause should be construed as an accurate homage to the beauty comprised in the whole repertoire. I regard this album as a crucial highlight in Congreso's career.

Latest members reviews

No review or rating for the moment | Submit a review

Post a review of CONGRESO "Ha Llegado Carta"

You must be a forum member to post a review, please register here if you are not.


As a registered member (register here if not), you can post rating/reviews (& edit later), comments reviews and submit new albums.

You are not logged, please complete authentication before continuing (use forum credentials).

Forum user
Forum password

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: — jazz music reviews and archives | — metal music reviews and archives