Opa’s ‘Goldenwings’ Is a South American Jazz Fusion Classic

Uruguayan Jazz fusion may not be a well-known subgenre to listeners outside of South America, but the band that essentially defined it nearly 50 years ago are getting their due, thanks to an impeccable vinyl reissue. Craft Recordings and Jazz Dispensary have teamed up for another reissue as part of their Top Shelf series—a new vinyl release of Goldenwings, the 1976 album from Opa. While the group or album names may not ring a bell, the record is a stunningly well-executed slice of jazz chops and Latin rhythms.

The roots of Opa begin in the Uruguayan capital of Montevideo. Brothers Hugo and Jorge Osvaldo Fattoruso formed their first band, Los Shakers, in 1963. They were heavily influenced by the Beatles, later crafting a more psychedelic sound that would bring them great success in South America. After the Beatles’ dissolution, the Fattoruso brothers were eager to move on to other genres and formed Opa with bassist Ringo Thielmann. With Hugo on keyboards and Jorge on drums, the trio moved to New York City. Eventually, they caught the attention of Brazilian jazz drummer Airto Moreira, who hired them as his live band, worked with them in the studio, and eventually helped get them signed to Milestone Records.

Opa’s debut, Goldenwings, was produced by Moreira and recorded in 1976 with a handful of high-profile guests, including guitarist David Amaro, Brazilian legend Hermeto Pascoal on flute and percussion, and Moreira playing percussion. The result is a Latin jazz fusion hybrid that sounds very much of its time, benefiting from the expert musicianship and Moreira’s steady producer’s hand. The title track crashes in as a brash opener, featuring confident, brassy synth lines, dazzling electric piano, rubbery bass, and complex, in-the-pocket drum syncopation that sounds like Return to Forever below the equator.

Goldenwings carries a variety of moods that often transcend the possibly limiting “fusion” label. “Paper Butterflies (Muy Lejo Te Vas)” is more of a melodic ballad, with vocals and sophisticated chords better suited for traditional pop song structure – even when the song moves on to some terrific soloing in the second half (Pascoal’s flute playing shines here, in particular). That track is one of two composed by Uruguayan star Ruben Rada, who also wrote the frenetic “African Bird”, a tune highlighted by propulsive percussion and joyful vocal exhortations.

Moreira’s influence and presence are advantageous for various reasons, including the execution of the four-part suite “Tombo/La Escuela/Tombo/The Last Goodbye”. The chunky electric piano notes lead into majestic synth-led passages and funky band interplay, all based around Moreira’s hit song “Tombo”. However, primarily, Opa live to fill the dancefloor with mesmerizing grooves, as on the endlessly funky album closer, “Groove”. The song fades up at the beginning as if the band had been at it for a while before anyone bothered to hit the record button. It’s not surprising, given the sound Opa emit is positively infectious and probably a whole lot of fun to jam out to in the studio.

Opa released two more albums before disbanding in the early 1980s, but their most acclaimed record has been thankfully preserved. As part of the Top Shelf series, Craft Recordings and Jazz Dispensary have, as always, pulled out all the stops with this reissue. Featuring all-analog mastering and pressed on 180-gram vinyl, the sound quality is full and gorgeous, and the tip-on jacket is identical to the record’s original design. Goldenwings perfectly fits the aesthetic of this series – an influential and revered release that somehow got lost in the shuffle but is gloriously brought back to life with love and care.