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Otra Musica

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Album Review

This collection of Guillermo Gregorio's early tapes is a tough one to pin down, since it features a wide variety of strange sounds: Gregorio plays the inside of a piano, breathes nervously through an alto sax, experiments with tape cutups, and leads improvising ensembles that include plastic horn, one-stringed violin, and electric accordion. The recordings, mostly put to tape live and at home, are absolutely horrible; these pieces sound like demos, which will annoy some listeners. But there's a sense of discovery here that's fascinating if the listener appreciates the music's context: Gregorio recorded Otra Musica from 1963 to 1970 in Argentina, isolated from the composers (including Iannis Xenakis and Musica Elettronica Viva) and improvisers (such as the Art Ensemble of Chicago) who were his peers. Quite often, his music was ahead of its time — the seasick flute, violin, and cello heaves on "Sueño de Lilas y Margaritas en un Prado de Verano" don't particularly sound like anything that came before them, and "Solo" featured Gregorio alone on alto saxophone four years before Anthony Braxton popularized the solo sax medium. Despite its murky fidelity, Otra Musica is well worth hearing.


Born: May 1, 1941 in Buenos Aires, Argentina

Genre: Classical

Years Active: '60s, '70s, '90s, '00s

Born in Argentina in the early '40s, the peripatetic Gregorio also lived in Los Angeles (where he studied with saxophonist Warne Marsh) and Vienna, before eventually settling in Chicago. After moving to Vienna from California in the late '80s, Gregorio met and began collaborating with the free jazz flügelhornist Franz Koglmann. The Swiss hatART label discovered Gregorio through his association with Koglmann. The company released his first album,...
Full Bio
Otra Musica, Guillermo Gregorio
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  • $9.99
  • Genres: Jazz, Music
  • Released: Oct 03, 2000

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