La Banda del Capitán Corneta
The entire text below was translated from Spanish to English using the 'Goo… Read Full Bio ↴The entire text below was translated from Spanish to English using the 'Google Translator' application. The original text can be read here: MusicaPopular.cl - La Banda del Capitán Corneta
If at the beginning of the decade without Pinochet in power, pop music found in Lucybell one of its emblems and rock and roll had Los Tres as the icon of those ten years, in a certain musical underground would then appear one of the most representative groups of that time. Under the call of Captain Corneta's Band, a blues-rock quintet passed through the enclave of Ñuñoa and after five years reached the category of "cult band", with an intense life in musical creation, electric stridency and disagreements between its members .
Members:
Pancho Rojas, voice and harmonica (1991 - 1995/2007 - •).
Pedro Rodríguez, voice and guitar (1991 - 1995/2007).
Cristóbal Rojas, drums (1991 - 1995/2007 - •).
Mauricio Rodríguez, guitar (1991 - 1995/2007 - 2010).
Juan Caballero, bass (1991/1993 - 1994).
Nelson Arriagada, bajo (1992 - 1993/2011 - •).
Miguel Pérez, bass (1994 - 1995/2007).
Emilio García, guitar (2011 - •).
The beginnings date back to 1990. The twenty-year-old brothers Pancho Rojas (singer without much experience) and Cristóbal Rojas (drummer of the group La Red, by Vladimir Groppas) met fortuitously the guitarist Pedro Rodríguez, who was arriving from a study period in Germany. Since I was very young I had been a jazz player, playing along with heroes who went back to the 1930s. But at the time I had listened to a lot of primitive blues and had a new project in this folder line. The Red brothers arrived at the same point from another position. Then they joined the bassist Eduardo Lalo Manzi to begin informally with a workshop work. This was nothing other than hot and ethyl paridas garage.
Electrifying Guitars
Very soon the musicians realized a fundamental aspect. For the ensemble to achieve the overwhelming power they had in mind, a second electric guitar was needed. They found it in the school of jazz player Roberto Lecaros. In the winter of 1991, Corneta as a quintet climbed the stage of La Batuta to jamear, without even being invited. The fifth element was a teenage guitarist. A rough diamond called Mauricio Rodríguez. With 16 years dazzled even the most experienced musicians, including Pedro Rodríguez himself.
That night of jam-rock not only appeared by La Batuta Álvaro Henríquez, but also the band would meet electric bassist Juan Caballero. He was a musician who then wandered the Bellavista circuit, played in some tropical music bands and frequented the pop stages (he was linked to Joe Vasconcellos). The famous day ended with a battle of blues guitars between Henríquez and Pedro Rodríguez, while Juan Caballero demonstrated the versatility and swing on the bass that Manzi's position would soon cost him.
By the end of 1991, La Banda del Capitán Corneta was constituted and with plans to put itself in the mouth of the alternative public. The name of the group was already an incitement to disband. Double phallic sense and insolent irony to the military ranks. Inspired by the Beatles and their Sgt. Pepper's lonely hearts club band, these Chilean musicians did not wear angry uniforms but always played with a martial shield as a backdrop, where instead of bayonets two ridiculous cross regiment horns were presented as weapons.
In its second year of action, the band had left absolutely anonymous. They went from the ninth-rock stages to the new jazz with ease, given the origin of their main musicians. Pancho Rojas was the closest thing to a frontman of rock and roll, wrote consistent lyrics, played the harmonica and generated great magnetism among the audience. Cristóbal Rojas was the strongest vein and established himself as the great rock drummer that he later became, while the pair of electric guitars came to work as well as the jazz trumpet and saxophone tandems. Among the Rodriguez always there was the connection of looks and groove attached in each delivery. While one practiced incendiary solos, the other developed the support with real knowledge of each proposed idea. If something differentiated La Banda del Capitán Corneta from other pop groupings, it was that these musicians improvised. And at a great level.
But the clash of personalities and purposes between Pancho Rojas and Pedro Rodríguez began to turn into a snowball. To this we must add Caballero's permanent discipline problems, which had already been removed from the band. The group had run out of one of its best elements. The replacement on the four strings was Nelson Arriagada, who also played for the group La Red and had such a discipline (he was a classical cellist), that it took him very little to become the musical director, barometer and catalyst of the spirits not only among the two more visible heads of the whole, but between all its members.
The Final Fall
Rojas liked the hard rock type Faith no More (he was very attracted to a figure like Mike Patton), while Rodriguez was still tied to the blues roots (then he only listened to Jimi Hendrix). The performances of the Corneta were considered by an open call to the pairing of the assistants. The blues-rock days could be musically orgiastic from the stage and passed on to the audience. A stamp that accompanied the best moments of the band.
In 1993 Arriagada left the group to begin a long residency in Germany and later become a jazz bassist. Then they turned to Caballero as a bass player. Until the end of his life, the quintet kept resisting the break despite the clash of concept between Rojas and Rodriguez. But out, Captain Cornet's Band burned. The talent scouts came to offer four contracts to the group and a future splendor. Finally they signed with Alerce and published their debut and farewell under the title of Perros días (1994).
The album presentation tour did not even finish its first stage. The collective tension was on the rise and towards the end of that year it was unmanageable. Caballero finally left the project and for the release of Perros días, the Cornetas recruited Miguel Pérez (also a bassist from La Red). Three nights in a row in La Piedra Feliz de Valparaíso and a later frustrated (although it is said that boycotted) show at dawn in Ritoque in January 1995 ended with the aspirations of one of the most important groups of the decade. The brothers Pancho and Cristóbal Rojas, plus Miguel Pérez, continued in the rock leading the group Mandrácula. Pedro Rodríguez went to New York to study jazz (later he returned to the groups Nexus, Marx Trio and Los Titulares) and Mauricio Rodríguez continued as a jazz guitarist in charge of the Almendra Trío.
Twelve years later, the band would meet to perform two spontaneous concerts in the two recurring spaces for their ñuñoínas performances: the Ñuñoa Jazz Club and La Batuta in Plaza Ñuñoa. The Band of Captain Corneta was rearticulated in January 2007 with the last active quintet and brought together a not less contingent of fans, then well into their thirties. His presentations continued throughout the year. But the differences between some of its founders intensified even in that period of reactivation, and Pedro Rodríguez left the group definitively with his next move to the United States. The Red brothers included as a collaborator the guitarist Emilio García for a quartet format, with some sporadic presentations, which concluded in 2012 with the album Historias de un hijo del blues.
If at the beginning of the decade without Pinochet in power, pop music found in Lucybell one of its emblems and rock and roll had Los Tres as the icon of those ten years, in a certain musical underground would then appear one of the most representative groups of that time. Under the call of Captain Corneta's Band, a blues-rock quintet passed through the enclave of Ñuñoa and after five years reached the category of "cult band", with an intense life in musical creation, electric stridency and disagreements between its members .
Members:
Pancho Rojas, voice and harmonica (1991 - 1995/2007 - •).
Pedro Rodríguez, voice and guitar (1991 - 1995/2007).
Cristóbal Rojas, drums (1991 - 1995/2007 - •).
Mauricio Rodríguez, guitar (1991 - 1995/2007 - 2010).
Juan Caballero, bass (1991/1993 - 1994).
Nelson Arriagada, bajo (1992 - 1993/2011 - •).
Miguel Pérez, bass (1994 - 1995/2007).
Emilio García, guitar (2011 - •).
The beginnings date back to 1990. The twenty-year-old brothers Pancho Rojas (singer without much experience) and Cristóbal Rojas (drummer of the group La Red, by Vladimir Groppas) met fortuitously the guitarist Pedro Rodríguez, who was arriving from a study period in Germany. Since I was very young I had been a jazz player, playing along with heroes who went back to the 1930s. But at the time I had listened to a lot of primitive blues and had a new project in this folder line. The Red brothers arrived at the same point from another position. Then they joined the bassist Eduardo Lalo Manzi to begin informally with a workshop work. This was nothing other than hot and ethyl paridas garage.
Electrifying Guitars
Very soon the musicians realized a fundamental aspect. For the ensemble to achieve the overwhelming power they had in mind, a second electric guitar was needed. They found it in the school of jazz player Roberto Lecaros. In the winter of 1991, Corneta as a quintet climbed the stage of La Batuta to jamear, without even being invited. The fifth element was a teenage guitarist. A rough diamond called Mauricio Rodríguez. With 16 years dazzled even the most experienced musicians, including Pedro Rodríguez himself.
That night of jam-rock not only appeared by La Batuta Álvaro Henríquez, but also the band would meet electric bassist Juan Caballero. He was a musician who then wandered the Bellavista circuit, played in some tropical music bands and frequented the pop stages (he was linked to Joe Vasconcellos). The famous day ended with a battle of blues guitars between Henríquez and Pedro Rodríguez, while Juan Caballero demonstrated the versatility and swing on the bass that Manzi's position would soon cost him.
By the end of 1991, La Banda del Capitán Corneta was constituted and with plans to put itself in the mouth of the alternative public. The name of the group was already an incitement to disband. Double phallic sense and insolent irony to the military ranks. Inspired by the Beatles and their Sgt. Pepper's lonely hearts club band, these Chilean musicians did not wear angry uniforms but always played with a martial shield as a backdrop, where instead of bayonets two ridiculous cross regiment horns were presented as weapons.
In its second year of action, the band had left absolutely anonymous. They went from the ninth-rock stages to the new jazz with ease, given the origin of their main musicians. Pancho Rojas was the closest thing to a frontman of rock and roll, wrote consistent lyrics, played the harmonica and generated great magnetism among the audience. Cristóbal Rojas was the strongest vein and established himself as the great rock drummer that he later became, while the pair of electric guitars came to work as well as the jazz trumpet and saxophone tandems. Among the Rodriguez always there was the connection of looks and groove attached in each delivery. While one practiced incendiary solos, the other developed the support with real knowledge of each proposed idea. If something differentiated La Banda del Capitán Corneta from other pop groupings, it was that these musicians improvised. And at a great level.
But the clash of personalities and purposes between Pancho Rojas and Pedro Rodríguez began to turn into a snowball. To this we must add Caballero's permanent discipline problems, which had already been removed from the band. The group had run out of one of its best elements. The replacement on the four strings was Nelson Arriagada, who also played for the group La Red and had such a discipline (he was a classical cellist), that it took him very little to become the musical director, barometer and catalyst of the spirits not only among the two more visible heads of the whole, but between all its members.
The Final Fall
Rojas liked the hard rock type Faith no More (he was very attracted to a figure like Mike Patton), while Rodriguez was still tied to the blues roots (then he only listened to Jimi Hendrix). The performances of the Corneta were considered by an open call to the pairing of the assistants. The blues-rock days could be musically orgiastic from the stage and passed on to the audience. A stamp that accompanied the best moments of the band.
In 1993 Arriagada left the group to begin a long residency in Germany and later become a jazz bassist. Then they turned to Caballero as a bass player. Until the end of his life, the quintet kept resisting the break despite the clash of concept between Rojas and Rodriguez. But out, Captain Cornet's Band burned. The talent scouts came to offer four contracts to the group and a future splendor. Finally they signed with Alerce and published their debut and farewell under the title of Perros días (1994).
The album presentation tour did not even finish its first stage. The collective tension was on the rise and towards the end of that year it was unmanageable. Caballero finally left the project and for the release of Perros días, the Cornetas recruited Miguel Pérez (also a bassist from La Red). Three nights in a row in La Piedra Feliz de Valparaíso and a later frustrated (although it is said that boycotted) show at dawn in Ritoque in January 1995 ended with the aspirations of one of the most important groups of the decade. The brothers Pancho and Cristóbal Rojas, plus Miguel Pérez, continued in the rock leading the group Mandrácula. Pedro Rodríguez went to New York to study jazz (later he returned to the groups Nexus, Marx Trio and Los Titulares) and Mauricio Rodríguez continued as a jazz guitarist in charge of the Almendra Trío.
Twelve years later, the band would meet to perform two spontaneous concerts in the two recurring spaces for their ñuñoínas performances: the Ñuñoa Jazz Club and La Batuta in Plaza Ñuñoa. The Band of Captain Corneta was rearticulated in January 2007 with the last active quintet and brought together a not less contingent of fans, then well into their thirties. His presentations continued throughout the year. But the differences between some of its founders intensified even in that period of reactivation, and Pedro Rodríguez left the group definitively with his next move to the United States. The Red brothers included as a collaborator the guitarist Emilio García for a quartet format, with some sporadic presentations, which concluded in 2012 with the album Historias de un hijo del blues.
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