The Acousticazo is back, with Litto Nebbia, Ricardo Soulé and Raúl Porchetto

The Acousticsfestival founded in 1972 in the mythical Atlantic theater, with the challenge of playing without electric instruments –a whole antecedent of unplugged concerts-, will celebrate its 50 years of history on August 20 at 9 pm at the Belgrano Auditorium with Litto Nebbia, Ricardo Soulé, Raúl Porchetto and Roque Narvaja as protagonists.

The musical meeting will bring together three generations of musicians and the public in the hall located in Virrey Loreto and viale Cabildo, in the Belgrano neighborhood in Buenos Aireswhere Litto Nebbia and Raúl Porchetto will perform again, flanked by Ricardo Soulé and Roque Narvaja together with numerous other classical and emerging musicians,.

Aníbal Forcada, Claudio Kleiman, Miguel Krochik (another of the original event attendees), Vikingo Martinez, Majo Castro and Santi Vai will also participate.

The Acousticazo was held on June 16, 1972 at the Atlantic Theater of Monserrat (where today there is a building) and marked a historic event: became the first live recorded album in national rock historya relic for collectors and music lovers.

Litto Nebbia, Edelmiro Molinariy played at the festival half a century ago, as well as “discovering” great emerging musicians such as Leon Gieco, Raul Porchetto, David Lebon. and Gabriellaamong other figures.

the first tribute

The anthological meeting had its second edition on June 8, 2017 at the Gran Rex theater. And this was reflected in the chronicle of Clarione.

The sun from the screens reflects off the moving acoustic guitars. Where do the creators look without nostalgia, with the conviction in the voice and the melodies ahead?

At the Gran Rex Theater the answer, from the day before yesterday, blows in time: the one to come. 45 years after Acusticazothe first live album (and collective voice) of Argentine rock, many of its original creators have commemorated it with an Acusticazo 2017, in the memories of today and tomorrow.

The list is an escape point towards the future: Litto Nebbia, León Gieco, David Lebón, Nito Mestre, Raúl Porchetto, Edelmiro Molinari, Lito Vitale, Carlos Daniel Fretgman and Miguel Krochik.

What was Acousticazo? The record that captured the concert of June 16, 1972 at the Atlantic Theater (Av. Belgrano 1260), in the Monserrat district, with the acute technical ear of Juan Carlos Robles -alias Robertone-.

An informal manifesto on the unplugged possibilities of expressing folk-based poetry within emerging rock.

That year, in the full search for sonic and generational freedom, several took over their acoustic guitars (and other sonic colors), in tune with the distant vibes of Crosby, Stills, Nash & Young. But without imitations: with the texts of men and women in the conflicts of these lands.

And this cold Thursday at the Gran Rex, with the sun in motion, the symbol of the new BA Rock festival to be held in October (even 45 years later), the idea of ​​its historic promoter Daniel Ripoll is fervently celebrated by Litto Nebbia, alone with his guitar, before the ovation of the packed Rex.

One genus is well established

“El Acusticazo was very innovative for the time and it wasn’t even called unplugged,” he jokes.

the fog will song of the horizon, Memento mori, Waltz of my house, Coplas of the musiquero, Dream and runthe air of zamba the bohemianthe unpublished Song for the innocent and what’s left of the original album with Domingo Cura’s drum set, now gone: Come black.

A crossover that angered defenders of niches (folk and rock), but for decades was the multiplier core of 21st century popular music. With the same edited battery of the “Mario Paz” brand, Nebbia invites “a surprise: Lito Vitale”.

There will be improvisations of percussion and cymbals to the joy and applause of the Rex when Nebbia embraces: “When you talk about your land, you are the most original. But for the rest of the day, no one talks to you as such. Come on, black! Come on, black! Cry a little and maybe a white man will listen to you. “

Nebbia will return only at the end, with acoustic patience. Musicologist and songwriter Carlos Daniel Fretgman, who was in the ’72 Acousticazo, will only have a theme for itself (in homage to Luis Alberto Spinetta, in time with the face outlined on the LED screen). Nekro, the referent of self-managed local punk and rock who emerged with the Fun People group in the 90s, will immediately grasp the true meaning of this unplugged conclave.

Dylan’s air

Reflect on the cultural legacies imposed and acquired, sings a Spanish version of This Land Is Your Land, a classic by the nomad Woody Guthrie, Bob Dylan’s great teacher and, by extension, sincere and true people forever. After Gurisitoby Daniel Viglietti, his guitar “doesn’t play anymore” and Nekro doesn’t hesitate: he sings a cappella and then strums without cable between the seats.

“Did I pay the ticket for this?” several snort, and others shout “León, León!” Nekro raises his voice, but not everyone wants to hear. Acoustic patience will still have to wait.

There will be an electric and neighborhood set of ten songs by Salta La Banca. Its leader, Santiago Aysine, “gesticulates like Abel Pintos”, they say to the audience. He sings loudly – clearly -, and expresses conviction (he is a Cromañón survivor): “No to police repression!”, And “No less, damn it!”. He still screams and cheers from the audience at Salta La Banca al Rex.

Iron men

Subsequently, León Gieco will be the generational connector, in his solitary voice and with the others. Before Catupecu Machu, he sings and swings the harmonica for what he recorded at Acusticazo ’72: Iron men. The symbol against repression. soon arrives The story is, the mosquito theme Y The Canterville Ghost. There can be no restraint on his beautiful musicality in the still urgent poetry.

“I have several surprises,” offers Gieco, and everything acoustic here will be permanent. With the transverse flute and the voice of Nito Mestre he will perform The Hill of Life.

With Raul Porchetto, you came down from the northyours, and build a red-hot wall of acoustic guitars with that, David Lebón and Edelmiro Molinari, for Lali the mouse. The staples of both float on the Rex first some peace (also Porchetto), all together. The past won’t be better: Peace is another new song coming.

CJL