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EMILIO DEL GUERCIO

Prog Folk • Argentina


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Emilio del Guercio picture
Emilio del Guercio biography
Status as of April 2021: occasionally active

Carlos Emilio Del Guercio San Martín (born 12th April 1950 in the city of Mar del Plata, Argentina) is a rock musician, composer, bassist, vocalist & guitarist. He was part of two well-known bands: ALMENDRA (1967-1970 and 1979-1981), and AQUELARRE (1971-1977). When his family moved to Buenos Aires, he met Luis Alberto Spinetta in high-school, sealing an artistic partnership that became the initial core for ALMENDRA, and the beginning of Emilio's musical career.

ALMENDRA released just two albums and then broke up, with Emilio and the drummer Rodolfo García going to found AQUELARRE, alongside guitarist Hector Starc and keyboardist Hugo González Neira. In 1975 AQUELARRE, after publishing four albums in Argentina, migrate to Spain, where they performed, but didn't release any album. They returned in 1977, and after disolution, Starc and García founded the fusion band Tantor.

1979 marked Emilio's return to music, with a lesser-known band, LA ELECTRICA RIOPLATENSE, consisting of Eduardo Rogatti (guitar), José Luis Colzani (drums), Alfredo Desiata (sax) and Eduardo Zvetelman (keyboards). They did not release any albums, but established a solid live reputation with a new sound. By the beginning of the 1980's many progressive musicians in Argentina (including Emilio) were steering towards a fusion of the rock element with a broad palette of ethnic folk music and jazz. This direction emerges in a few songs in the short-lived second run with ALMENDRA, but it only fully blossomed in del Guercio's solo career.

His only solo album is called Pintada (1983), with guest musicians Colzani (drums) and Zvetelman (keyboards), plus Chango Farías Gómez (bombo legüero), Luis Borda (electric guitar), Raúl Barboza (accordion), and Rubén Rada (percussion). ALMENDRA's guitar player Edelmiro Molinari produced this beautiful record.

After the birth of his second daughter in 1990, Emilio retreated to family life and compositions, making sporadic live appearances.
His last high-profile performances were the reunion concert of AQUELARRE in 1998, and the release of the double live album Corazones del Lado del Fuego in 1999, but he has performed occasionally in the 2000s, where, alongside the classic material, he continues to present new, as yet unreleased songs.

Bio courtesy of Heart of the Matter

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4.82 | 2 ratings
Pintada
1983

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 Pintada by GUERCIO, EMILIO DEL album cover Studio Album, 1983
4.82 | 2 ratings

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Pintada
Emilio del Guercio Prog Folk

Review by Heart of the Matter

5 stars In this album, a terrific selection of musicians, coming from styles very differentiated in Argentina, put their imprint on a beautiful set of songs written by Emilio. Rock, folk and jazz intertwine in a completely new sonic material where there's no room left to individual flourishes or improvisations, every effort is rather oriented to a greater goal: the perfection of each and every one of this pieces born in the confluence of poetry and melody. The rhythmic and harmonic solutions they present, however, are by no means the basic usual resources of the song form, but a sophisticated array of imaginative intricacies which elevate each track from those assorted primary materials to a higher level of elaboration and cohesion.

Track by track:

1. Trabajo de pintor: Exquisite acoustic finger picking and tenor vocals, fantastic melody, and increasing rhytmic complexity based on subtle affinities between a folk style from the Argentinean northeast (chamamé) and jazz-fusion. The lyrics and the use of local accents by Emilio add an extra layer.

2. Para darme: An entirely acoustic song with lots of harmonic ambiance, and probably the closest to the sound of the band Almendra that this record gets.

3. Aroma del lugar: Starting from a traditional folk rhythm punctuated by the ethnic percussion (bombo legüero) this song transcends that material, evolving in a stunning melody.

4. Polen: The initial excuse of a latin flavoured rhythm soon leads to a solid jazz-rock riff. A great track for fusion fans, with many nuances and changes in pace and signature.

5. Miéntete más, divino tesoro: Even this, the lighter moment, is just great. Do yourself a favour, and try to follow the lyrics.

6. Imán: A tender moment, dedicated to his daughter, with vocals nicely alternating from middle to high register.

7. Verano español: Influenced by flamenco (a regional style from Andalucía, Spain), this track features an ocassion for the whole band to show their instrumental prowess, escalating to the more symphonic moment of the album.

Thanks to kenethlevine for the artist addition.

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