Viajero Inmóvil - Difusión de grupos progresivos independientes

English Version Versión en español Versión para Argentina


Facebook MySpace SoundCloud


  • Ciudad de Tonos Lejanos - (1983)



Members featured in the album

  • Ciudad de Tonos Lejanos - (1983)


CARLOS CUTAIA - Rhodes piano and Yamaha CP70 - Sintetizadores Prophet 5, Yamaha CS15D and Logan

OSCAR MORO - Drums and percussion




This important musician, composer and keyboardist was part of important bands in the '70s. In addition, he composed various soundtracks for dance and theater shows. He directed the musical comedy "Hair", based on the novel by Niko Kazantzakis, performed in Buenos Aires between 1971 and 1974.

With a zigzagging trajectory, he declared himself an early admirer of Schoenberg, starting a path through Progressive Rock, Jazz Rock, Electronic Pop and in his last years ending up in the new Tango.

His first foray into the local scene took place in 1970, when Miguel Abuelo moved away from Los Abuelos de la Nada and formed a trio called El Huevo, in which Miguel contributed the guitar and voice, accompanied by Héctor “Pomo” Lorenzo on drums. and Carlos Cutaia assumes the role on keyboards, but unfortunately this group does not manage to consolidate or transcend, which makes its continuity ephemeral.

It didn't take too long until Luis Alberto Spinetta summoned him to be part of Pescado Rabioso in 1972, when his first album “Desatromentándonos” was almost finished, he participated in a single song: “Serpiente (Travels through the Salt)”. From there, the group becomes a quartet in which it contributes its work on keyboards and mainly on the organ. This is evidently manifested in the group's second album "Pescado 2", where he plays the Hammond organ and piano.

In 1974 he participated in the recording of the album of his wife, the actress and dancer Carolina María Fasulo, who had started her career as a singer under the pseudonym Carola. On the album “Damas Negras”, he participates as an arranger and musician, playing the guitar and contributing his voice.

That same year, the couple joined the community of devotional music Lila (the cosmic game), with the aim of spreading the ideas of guru Maharaj Ji. Along with them was David Lebón, Liliana Lagarde, Daniel Fernández, among other musicians and other cultists of the Mission of Divine Light. In 2015, a single single was released containing two songs "Amanece la Verdad" and "Ah, Maharaj Ji". This endeavor ended within a few months and each musician sought new directions.

His return to renowned bands takes place in 1976, when Charly García calls him to play in his new Progressive Rock / Symphonic project: La Máquina de Hacer Pájaros, where, without a doubt, he managed to demonstrate his virtues as a keyboardist in his two only albums.

After having participated in other people's projects, Cutaia decides to venture together with his wife in a group project where both decided to meet under the name: C. C. Cutaia. With a more elaborate proposal, which contains songs directly related to Progressive / Symphonic Rock, in addition to the currents and variants of Fusion music, such as Funk and Jazz Rock. In 1979 the edition of the LP "Rota Tierra Rota" was produced, basically composed by himself and with lyrics by his wife. Along with them, Julio Presas on guitar, Ricardo Sanz on bass and Carlos Riganti on drums supported them. Parallel to this recording, Julio Presas recorded his solo album “Amaneciendo en la Cruz del Sur”, with practically the same team.

In 1982, he began recording his first solo album. During the months of July and August he recorded his album "Ciudad de Tonos Lejanos" together with Oscar Moro, which was finally released in 1983. A work based on keyboards where performs a kind of Symphonic Jazz Rock.

The new musical currents lead him to venture into the Electronic Techno Pop of the time, together with Daniel Melero and Alejandro Oucinde, with whom he recorded his second solo album in 1985 under the name "Carlos Cutaia Orquesta".

It was from this last album that he began to move away from the local rock scene to begin to venture into other disciplines.

He directed the musical comedy "Chicago" in Santiago de Chile, he composed the rock opera "Romeo y Julieta" (premiered at the Coliseo Theater in Buenos Aires). He made the arrangements for the National Symphony for the presentation with Memphis La Blusera in the recording of the album “En vivo en el Teatro Colón” (2004).

In the new millennium, he returns to edit solo works under the new forms of Tango. A proposal where he composes with a tango intention, freely incorporating influences from other musical genres such as Jazz, Contemporary Classical Music and Rock. With Daniel Pipi Piazzolla on drums, Ezequiel Cutaia on double bass and Liliana Barrios on voice, he recorded “Para la Guerra del Tango” (2004), work for which he received the 2005 Carlos Gardel Award in the category ‘Tango - New forms‘.

He was followed by new works such as “Melancólica Sensation” (2005), “BA Ensimismado” (2007), “La Cinta Robada” (2010) and in 2014 he made an album with Daniel Melero entitled “Cutaia-Melero”, which he obtained a Carlos Gardel award.

His extensive career was always supported by his academic knowledge, but fundamentally in his desire for innovation and good taste, which accompanied him in each of his jobs.




* Carlos Cutaia Official Facebook