The first leg of the group had a reduced the power being insert in the dictatorship, but the protest songs were cleverly camouflaged with poetic lyrics and musical complexities.
The three Gonzalez brothers took over a year to reassemble the group while maintaining working as support musicians in television orchestras and pop musicians as the Argentine pianist Raúl di Blasio.
So they met the young Chilean-Brazilian Joe Vasconcellos, whose latinamericanist interests and his musical training thought he would give a new look to the project.
Beside him completed the reshaping of Congreso the recently intregreated pianist Anibal Correa and bassist Ernesto Holman, who not only was an old acquaintance of his times Tilo Gonzalez university in the Valparaiso, but it also would become one of the most representatives of the new fusion sound of the group.
Vasconcellos then assumed as a lyricist, and with that scheme published Viaje por la cresta del mundo in 1981, one of his strongest works, with some of the most challenging Tilo's compositions as "Viaje por la cresta del mundo", "Hijo del diluvio" or "El descarril" among others, however public recognition would come with the inclusion of a simple song, the classic "Hijo del sol luminoso" written by Joe Vasconcellos.
Congreso then given a clear shift towards progressive rock, but always manteining a Latin Americanist style.

Moving between the stages of the Nueva Canción Chilena, rock spaces that opened in those years, and college circuits, Congreso consolidated in this new context as a fundamental band of the Chilean scene.
With his album, Ha llegado carta (1983) roamed many scenarios, and were hired by CBS-Argentina to record a new production.
Vasconcellos left the band, and the group focus its repertoire on instrumentals, which gave life to Pájaros de arcilla in 1984.
In this year Valparaiso's saxophonist Jaime Atenas joined the group from the group Ensemble Jazz-Fusion.
This album is one of the most critically acclaimed by specialist in the history of Congreso, however hardly circulated on this side of the mountains, so the home crowd went away, generating a new crisis was settled shortly after the Sazo reinstated (by then, Ph.D., after years of study in Europe)
The first leg of the group had a reduced the power being insert in the dictatorship, but the protest songs were cleverly camouflaged with poetic lyrics and musical complexities. The three Gonzalez brothers took over a year to reassemble the group while maintaining working as support musicians in television orchestras and pop musicians as the Argentine pianist Raúl di Blasio. So they met the young Chilean-Brazilian Joe Vasconcellos, whose latinamericanist interests and his musical training thought he would give a new look to the project. Beside him completed the reshaping of Congreso the recently intregreated pianist Anibal Correa and bassist Ernesto Holman, who not only was an old acquaintance of his times Tilo Gonzalez university in the Valparaiso, but it also would become one of the most representatives of the new fusion sound of the group. Vasconcellos then assumed as a lyricist, and with that scheme published Viaje por la cresta del mundo in 1981, one of his strongest works, with some of the most challenging Tilo's compositions as "Viaje por la cresta del mundo", "Hijo del diluvio" or "El descarril" among others, however public recognition would come with the inclusion of a simple song, the classic "Hijo del sol luminoso" written by Joe Vasconcellos. Congreso then given a clear shift towards progressive rock, but always manteining a Latin Americanist style.
Moving between the stages of the Nueva Canción Chilena, rock spaces that opened in those years, and college circuits, Congreso consolidated in this new context as a fundamental band of the Chilean scene. With his album, Ha llegado carta (1983) roamed many scenarios, and were hired by CBS-Argentina to record a new production. Vasconcellos left the band, and the group focus its repertoire on instrumentals, which gave life to Pájaros de arcilla in 1984. In this year Valparaiso's saxophonist Jaime Atenas joined the group from the group Ensemble Jazz-Fusion. This album is one of the most critically acclaimed by specialist in the history of Congreso, however hardly circulated on this side of the mountains, so the home crowd went away, generating a new crisis was settled shortly after the Sazo reinstated (by then, Ph.D., after years of study in Europe)
Congreso