Sunday, September 13, 2015

1979 – MELINGO’S ‘RING CLUB’ PRECEDINGS:
‘Theatre of The Invisible of Buenos Aires’

If Daniel Melingo founded his first musical theatre
laboratory in the ‘Ring Club’ group, then shouldn’t be
wrong saying that his previous participation in ‘Theatre
of The Invisible of Buenos Aires’ was his preliminary
technical project.

Constitutes a common misconception the assumption
that Daniel Melingo (Melingo), upon returning from
Brazil in 1980, immediately joined Miguel Abuelo’s
(Miguel Abuelo) band ‘Los Abuelos De la Nada’ by
playing sax, clarinet and doing vocals, and it is as well
uncertain that he did participate in 1981 debut singles
"Guindilla ardiente" and "Mundos in mundos".

Early 1979 Daniel Melingo travelled to the city Ouro
Preto, a municipium of the state of Minas Gerais, in
Brazil, where he met mime Olucaro Ocimotana who
had previously gained a significant success in the Sao
Paulo Bienal Arts Foundation with his unipersonal
spectacle ‘Magical Theatre: A mankind history in the
planet’. Daniel Melingo was so impressed by the
structure of musicalized theatrical sketches that he
joined playing clarinet to Juan Aguilar (acoustic guitar)
and chilean Esteban (surname to be confirmed) (device
operations). 

By September 1979, mime Olucaro Ocimotana’s
spectacle had evolved into a multimedia experience
touring, under the name of ‘Theatre of The Invisible of
Buenos Aires’, several brazilean cities including Sao
Paulo, Minas Gerais and Rio de Janeiro. These unique
shows, a combination of mime-music-dance & poetry,
marks Daniel Melingo’s first participation in a musical
theatre project. The performance in the city of Sabarà,
around 23 km East from the neighbor state of Belo
Horizonte, counted with the collaboration of Guillermo
Medin in charge of video tape recordings.

In June 1984 ‘Theatre of The Invisible of Buenos Aires’
gave their last performance before departing to Europe,
at FUNARJ’s Sala Cecilia Meirelles in Rio de Janeiro:
Olucaro Ocimotana (Producer, General Director, mime),
Mariangela Mascaretti (mime partner), Guillermo Medin
Composition Awards, BiorsiKlhasch) (Musical Director,
keyboards), Luciano Bahia (keyboards), Josè Simian
(electric guitars), Jorge Varela (electric bass), Toni Aguiar
(wind instruments), Claudia Samanta (vocals); but by then
Daniel Melingo already had left the ensemble presumably
to play with Milton Nascimento.

In 1980 upon returning to Buenos Aires, Daniel Melingo
formed his own group called ‘Ring Club’ and the material
consisted of musicalized theatrical sketches which kept a
similar structure learned from mime Olucaro Ocimotana’s
‘Theatre of The Invisible’. The second set of shows named
‘Juicio oral al Dr.Moreau’ featured Miguel Abuelo (vocals,
 percussion), Gustavo Bazterrica (Gustavo Bazterrica)
(electric guitar), Juan del Barrio (Juan Del Barrio)
(keyboards), Miguel Zavaleta (vocals, keyboards) and
guest artists: ‘Los Hermanos Clavel’ and ’Las BayBiscuits’.































































Legendary sister machines Roland Bass Line TB-303 &
Drumatix TR-606 used by keyboardist Guillermo Medin
in 1984 ‘Theatre of The Invisible of Buenos Aires’ Rio de
Janeiro show:





















Although there aren`t soundtracks of Daniel Melingo
playing his soprano clarinet in the Sabarà show, it is said
that the event was caught on Single-8 film (Japanese Fuji
Film counterpart of  the worldwide renown Kodak Super-8
format). Nevertheless, there are rehearsal recordings of
‘Theatre of The Invisible of Buenos Aires’ that might still