La Chicana was formed in the first months of 1996 by Dolores Solá, Acho Estol and Juan Valverde with the clear intention of producing tango music with a rougher edge. They favor the ‘canyengue’ or orillero street rhythms and humorous melodrama of early tango as opposed to more solemn later flavors. They truly believe that the essence of tango lies in its 1920s spirit of rebellion and spontaneity witch puts it ideologically closer to rock music than to the orchestral forms that popularized it in the world since the 1940s.
La Chicana has performed at numerous festivals and special events throughout the world. In 1997 they performed routinely in Buenos Aires while working on their first CD, Ayer hoy era mañana, out in early 1998, combining revisited classics: tango, milonga, candombe- with their own unreleased songs.
They were given the UNESCO International Merit Award atn the Teatro Colon in Buenos Aires. During the first half of the year 2000 La Chicana performed extensively in Buenos Aires, recorded their second album and did a tour of Spain that included six cities. Because of the success they were invited to present their second CD with a similar tour in February 2001. Back in Buenos Aires they performed many shows promoting the album with many of the guests that appear in it, and TV and radio appearances.
During 2001 La Chicana had numerous engagements in Buenos Aires – Notorious, Ghandi, Tobago, T. Tasso – and they began recording their third CD. In December their second CD “Un giro extraño” was voted by Leon Gieco as album of the year in the music section of newspaper “Pagina 12”. They started recording sessions for their third CD.
In early 2003 La Chicana produced their third album Tango agazapado and they finished shooting for the documentary feature: “Tango: Un giro extraño” directed by Mercedes Garcia Guevara.
The short subject film “El Elegante” was finished in Los Angeles. Produced by Kalmia Pictures and 20th Century Fox it is totally scored by Acho Estol with music performed by La Chicana.
On August 29th La Chicana presented Tango agazapado at ND Ateneo, a theater in Buenos Aires. During the rest of 2003 they received excellent press reviews for this record.
In early 2004 they received the prestigious “Carlos Gardel Award” for Tango agazapado in the “Best New Tango” category.
Although the lineup has changed several times, the group is led by vocalist Dolores Solá and guitarist and composer Acho Estol.
Mercedes Sosa was born July 9, 1935, in San Miguel de Tucumán, Argentina. She was honored throughout the world as “The Voice of Latin America” and revered in her native Argentina as “a symbol of life and freedom,” Mercedes Sosa was a dynamic, inspiring figure, and one of the most versatile artists on the world music scene. Sosa was also widely known for her message of peace, international integration, defense of human rights and artistic and personal integrity.
After humble beginnings growing up in San Miguel de Tucuman, Mercedes Sosa spearheaded a traditional music and dance movement with her husband called Nuevo Cancionero which declared the materialization of protest music across Argentina and Chile. She served as a political figure of sorts by speaking out for the poor Argentines against military dictatorship and oppressive conditions.
In 1966, Sosa recorded Yo no canto por cantar, beginning a 33 year career with PolyGram Records while continuing to record political music banned from radio broadcasts. Viewed as a serious threat to Argentina’s military regime, Sosa was searched and arrested on stage at a concert in La Plata in 1979. After receiving a series of death threats she was forced into exile seeking refuge in Paris and Madrid, Spain, where she finally settled, but persisted touring the United States, Europe and Brazil.
Sosa made a triumphant return to Argentina in 1982, several months before the military regime collapsed as a result of the Malvines (Falklands) War, and gave a series of concerts at the Opera Theater in Buenos Aires. A live double album made up from these performances became an instant best seller.
In 2005 she released Corazon Libre, produced by renowned musician, vocalist and arranger “Chango” Farias Gómez with Jorge Giuliano (her long-time accompanist) contributing his talents along with leading folk guitarists Luis Salinas, Eduardo Falu, and Alberto Rojo.
Using only simple acoustic guitar arrangements to accompany her legendary vocal style, Sosa went back to her roots and captured the spirit and soul of her homeland. The album contains folk-repertoire classics like “Zamba de Argamonte” and “Tonada del viejo amor,” but focused mainly on contemporary songs by Argentine poets and songwriters, whose lyrical and melancholy verses express a great connection with nature. “Todo Cambia” (Everything Changes), a new version of one of her biggest hits, is a very brave and meaningful song that has turned into a Latin American hymn as voiced by Sosa.
The songs also told of the “suffering earth,” the “forgotten street children,” “lost love,” and the escape into music: “Sometimes I sing ‘Milongas’ when it seems like life won’t go on.” The cover art for the album continued the simplistic theme of the album. It was drawn by friend and fan Joan Baez who gave it to Mercedes Sosa as a gift in 1988.
Through the years she continued to impress fans and critics alike. Mercedes Sosa also won two Latin Grammy Awards in the Best Folk Album category: Misa Criolla (2000) and Acustico (2003).
Mercedes Sosa died October 4, 2009 in Buenos Aires of liver disease. She was 74.
* Canciones con fundamento (Polygram/Universal, 1965)
* Yo no canto por cantar (Polygram/Universal, 1966)
* Hermano (Polygram/Universal, 1966)
* Para cantarle a mi gente (Polygram/Universal, 1967)
* Con sabor a Mercedes Sosa (Polygram/Universal, 1968)
* Mujeres argentinas (Polygram/Universal, 1969)
* Navidad con Mercedes Sosa (Polygram/Universal, 1970)
* El grito de la tierra (Polygram/Universal, 1970)
* Homenaje a Violeta Parra (Polygram/Universal, 1971)
* Hasta la victoria (Polygram/Universal, 1972)
* Cantata Sudamericana (Polygram/Universal, 1972)
* Traigo un pueblo en mi voz (Polygram/Universal, 1973)
* A que florezca mi pueblo (Polygram/Universal, 1975)
* En direccion del viento (Polygram/Universal, 1976)
* Mercedes Sosa interpreta a Atahualpa Yupanqui (Polygram/Universal, 1977)
* Serenata para la tierra de uno (Polygram/Universal, 1979)
* A quien doy (Polygram/Universal, 1980)
* Gravado ao vivo no Brasil (Polygram, 1980)
* Mercedes Sosa en Argentina (Polygram/Universal, 1982)
* Mercedes Sosa (Polygram/Universal, 1983)
* Como un pajaro libre (Polygram/Universal, 1983)
* Recital (Polygram/Universal, 1983)
* Sera Posible El Sur (Polygram/Universal, 1984)
* Vengo a Ofrecer Mi Corazon (Polygram/Universal, 1985)
* Mercedes Sosa ’86 (Polygram/Universal, 1986)
* Mercedes Sosa ’87 (Polygram/Universal, 1987)
* Amigos Mios (Polygram/Universal, 1988)
* En vivo en Europa (Polygram/Universal, 1990)
* De Mi (Polygram/Universal, 1991)
* 30 Años (Polygram/Verve, 1993)
* Sino (Polygram/Universal, 1993)
* Gestos de Amor (Polygram/Universal, 1994)
* Disco de Oro (Polygram/Universal, 1995)
* Escondido en Mi Pais (Polygram/Universal, 1996)
* Alta fidelidad (Mercury/Universal, 1997)
* Al Despertar (Mercury/Universal, 1998)
* Misa Criolla (2000)
* Acustico (Sony Discos, 2002)
* Corazon Libre (Philips/Edge Music/Deutsche Grammophon/Universal Classics, 2005)
Founded in 1999 in Buenos Aires, Argentina, Los Pinguos (the Penguins, in Spanish) perform a spicy mixture of Latin rhythms utilizing Spanish guitars, Peruvian cajon (box-drum) and richly harmonized vocals. The group is led by led by guitarist and composer Adrian Buono.
After developing a strong following in the nightclubs of their native city, the band moved to Los Angeles in 2001 in search of international success. They soon began playing at local venues, private parties, film industry events and even on the streets. Their devoted work ethic, coupled with engaging live shows and endearing personalities, has made them one of the most popular Latin groups in Los Angeles today.
The lineup on Regardel includes Adrián Buono on guitar and vocals; José Agote on guitar; Santiago Fefe Lee on bass; Pablo Medina on Hammond organ, piano and vocals; Pablo Correa on drums; Mariano Dugatkin on bandoneon; Juan Manuel Leguizamón on percussion; and Mermans Mosengo on bass.
With the structure of a typical tango orchestra (four bandoneons, three violins, alto, violoncello, double bass and piano), a singer, a sound that has a lot in common with Osvaldo Pugliese Orchestra and a spirit associated with the rock culture, the Orquesta Tipica Fernandez Fierro is making its own way with new arrangements of traditional tangos and their own compositions.
Working as a cooperative they have recorded and released several CDs and have opened their own place in Buenos Aires called Club Atletico Fernandez Fierro where they play and organize a milongas and concerts.
Fernandez Fierro’s shows are an original mix that captivates not only old tango fans and dancers but also new generations getting into contact with tango music for the first time.
Vivo en Europa is described with humor by them as the “official-pirate cd of la Fernandez Fierro” since it was recorded live during one of their concerts in the European tour 2005.
“We realized that the recording wasn’t meant to be distributed but, the energy that the orchestra displayed during this concert is something difficult to re-produce in a Studio… this is the energy of Fernandez Fierro live…” says Pablo Jivo.
Julio A. Santillán is a composer and guitarist originally from Tucuman, Argentina. His compositions combine elements from his home land folk music, jazz improvisation and classical music.
He has studied classical guitar at Instituto Superior de Musica (Argentina) under the direction of maestro Pablo Gonzalez Jasey. He graduated summa cum laude with a dual major in Classical Composition and Contemporary Writing and Production from Berklee College of Music (Boston, USA). He also studied jazz improvisation with Mick Goodrick.
Santillan received the 2004 Van Lier Fellowship, ASACPlus Award, Louis Armstrong Jazz Award, the Arif Mardin Award and the Contemporary Writing and Production Achievement Award.
As a composer/arranger he has produced music for documentary films, theater, recordings and live performances for artists around the world. Recently, Argentine virtuoso guitarist Victor Villadangos, has included guitar studies from Julio’s Book Cinco Estudios Criollos in his latest CD Guitar Music from Argentina vol. II (Naxos).
Julio also produced Colombian singer Marta Gomez’s Cantos de Agua Dulce, Entre Cada Palabra (Chesky Records) and La Ronda- Women of Latin America, Paula Ausente- Women of the World (Putumayo Records).
He has recorded and performed with many musicians from Argentina, Boston and New York including Oscar Stagnaro (Paquito D’Rivera), Livingston Taylor, Raul Carnota and Sandra Mihanovich.
Santillan has shared the stage with important artists such as Mercedes Sosa, John Mayer, Pablo Ziegler (Astor Piazzolla), Paquito D’Rivera, Bonnie Raitt, Tania Libertad, Diana Krall and Leon Gieco. He has performed and gave workshops in Argentina, Colombia, Finland, Greece, Canada and in more than fifty cities in the U.S. including New York, Los Angeles, Boston, Miami, Dallas and Washington D.C.
Julio A. Santillan has recorded over 30 CDs, including a play-along CD for The Latin Bass Book (Sher Music, by Oscar Stagnaro), two albums with the Pablo Ablanedo Octet (Freshsound records), four cds with Marta Gomez (BigSur records /Chesky Records)- one of which was chosen among the best 10 records of 2003 by the Boston Globe- and one by tango diva Katie Viqueira (Freshsound records)- Independent Music Award winner, 2005 best World Music Album.
Santillan led for almost 10 years Los Changos (trio & septet); an ensemble that performed his own compositions. The group has been featured in some of the most prestigious venues in the U.S. such as Blue Note (New York) and Regattabar (Boston).
Los Changos toured South America in four opportunities. At the moment Julio is working with a brand new project: the Julio Santillan Trio. He has released four cds with his compositions: Desde el Norte, Anit Negra, Nann and El Bosque de la Memoria (BigSur Records- CAP Records).
He was a faculty member at Manhattan College 2004-2009. Later he moved to Spain where he worked at a music school until 2012. He’s currently the director of the Orquesta-Escuela de Chascomús in buenos Aires.
Desde el Norte (Big Sur Records, 2001) Anit Negra (Big Sur Records, 2003)
Nann (Big Sur Records, 2005) El Bosque de la Memoria (Big Sur Records, 2008)
Argentinian Jazz in New York (Big Sur Records, 2009)
Un instante (Big Sur Records, 2011) Meia laranja (Big Sur Records, 2012)
Va place tango? (Big Sur Records, 2015)
Cinco Estudios Criollos, a book with five studies for guitar based on Argentine folk rhythms (chacarera, milonga, cueca, guarania and malambo).
Bandoneonist and master of the complex Argentine tango, maestro Juan José Mosalini was born in 1943 into a craftsman’s family who were passionate about music.
Juan Jose Mosalini started playing the bandoneon at the age of eight. Through his father’s influence, he absorbed the popular, traditional music of Argentina.
The young Mosalini was a professional musician by the time he was 17, after winning first prize in a competition “Nace una estrella” (A star is born) organized by Buenos Aires Television in 1961.
From 1962 to 1976, he composed, arranged, played and accompanied, working with the greatest orchestras and soloists in Argentina, including Astor Piazzolla, with whom he became close friend. During this period he founded the Guardia Nueva Quintet, which was to be one of the richest and must original experiences of the avant-garde tango phenomenon.
In 1977 he chose France as his new musical home, where he started to work with other Argentinean musicians. He formed the group Tiempo Argentino, which was received enthusiastically by the press. They completed several European tours and appeared at major Parisian venues, including the Palais des Arts and l’Olympia.
In 1978, in an innovative and experimental mode, Juan Jose Mosalini made a recording of solo bandoneon music. The recording (prefaced by Julio Codézar) revealed a musician in true dialogue with his instrument, delivering a blend of poetry and virtuosity. It was unanimously well reviewed and established Mosalini as a major artist.
In 1980, he founded a new ensemble, Canyengue, and then in 1982 the celebrated Mosalini-Beytelmann-Caratini Trio (bandoneon/piano/double bass), who went on to tour every continent, becoming particularly popular in the United States.
In 1983 Juan Jose Mosalini made a CD “Bordona” with the Trio, and in the following year he took part in the World Music Meeting in Baden-Baden as representative of Argentina, which also resulted in the recording of a CD.
Juan Jose Mosalini subsequently composed the music for a number of films, including “Double Face” and “Le Quatrième Pouvoir” by Serge Leroy, and two by director Stéphane Kurc: “Le Génie du faux” and “Un Coeur de marbre”, a four-part film for French television. At this time he also began to write a bandoneon method, commissioned by the French Minister of Culture.
1987 saw the release of “Imagenes” Trio’s second CD, on the “Label Bleu”, and in 1988 Juan Jose Mosalini started working on a Bandoneon Collection for music publishers Henry Lemoine. In 1989, he inaugurated the first European bandoneon course at the Gennevilliers Conservatory in Paris, where he has been teaching ever since.
With the flautist Enzo Gieco, and guitarist Atahualpa Yupanqui writing the libretto, he composed the cantata ‘La Parole Sacrée’, which had its first performance on June 21, 1989 at the Palais des Congrès in Nanterre, as part of the celebrations on the Bicentenary of the French Revolution.
In 1992 Juan Jose Mosalini started his Grand Orchestre de Tango, which has since appeared all over the world : Japan, USA (February 98, July 99 at the Hollywood Bowl), Sicily, the Netherlands, Germany, Norway ( several times from 1994 to 2000), Belgium, Canada (Montreal, Toronto), Greece (at the Megaron, Athens), Switzerland, Tunisia, and in France. He also released his second solo album, “Che Bandoneon”, and composed “Casi un Tango” (state commissioned).
In 1993 he toured Germany with the guitarist Roberto Aussel, and wrote compositions for tango orchestra and children’s choir with Enzo Gieco. In 1994 the Grand Orchestre de Tango released the CD ‘Bordoneo y 900″. Mosalini formed a quintet in the same year with the violinist Antonio Agri, and after Agri’s death, with his son Pablo Agri. The quintet appeared with great success in Japan, England and France.
His 1999 composition “Paris-Tango”, a choral poem on the words of Horacio Ferrer, in an arrangement by guitarist Leonardo Sénchez, had its debut with the Victoria Regional Choir under the baton of Michel Piquemal.
His passion for music in all its forms has brought him to work closely with classical musicians, leading to the discovery of a vast and perfectly adapted repertoire, particularly with string orchestra and symphony orchestra. Juan Jose Mosalini has played as soloist with the Enesco Quarter, the Orchestra de Picardie, the Orchestra National de Lille, the Orchestra National Bordeaux-Aquitaine, the Orchestra of Hong Kong, Spring Festival), the Bourgogne Camerata, the Orchestre de Radio-France, the Symphony Orchestra of Munich.
He recorded with Bass Normandie’s orchestra and the guitarist Leonardo Sanchez his own creation named “Outdoor and Urban Fantasies”.
At the ‘Buenos Aires Tango” Festival, Juan Jose Mosalini was awarded the Buenos Aires City Medal, in recognition of his work in the dissemination of Argentinean music throughout the world.
He recorded an album for the label Mañana, with the Strings Quartet Benaim named “Classic and Modern”, with Gustavo Beytelmann’s original compositions.
Gustavo Santaolalla has been a force in Latin American music since the 1960s. He is one of a small group of musicians who created the hugely popular “Argentine Rock” movement, which included very creative bands that played progressive rock, jazz fusion, and other genres, sometimes combined with Latin American melodies and rhythms.
Santaolalla’s professional music career started in 1967 at the age of 16, when he founded the seminal group Arco Iris, making history as the pioneer in the fusion of rock and Latin American folk. Santaolalla’s work as bandleader (Arco Iris, Soluna, Wet Picnic); solo artist (Santaolalla, GAS, Ronroco); and record producer (Cafe Tacuba, Kronos Quartet) showcases his expertise in a wide variety of other musical styles.
For a few years, Santaolla lived between Buenos Aires and Los Angeles. Eventually, he settled in Los Angeles in the 1980s.
He has since become the most important name in Latin Alternative music in North America, having won Grammy awardss for his work with Cafe Tacuba and Juanes and has also produced critical and commercial successes for million-selling Mexican group Molotov, as well as Julieta Venegas, Maldita Vecindad, Caifanes, Leon Gieco, Los Prisioneros and Divididos, amongst others.
After the launching of his label Surco, he also played a major role in producing music for his label’s roster of artists, including Bersuit, Erica Garcia, Arbol and La Vela Puerca. Gustavo later entered the world of film music by scoring the music and producing the soundtrack for the Oscar-nominated and Cannes Film Festival-winning film Amores Perros, and again teamed up with Amores Perros director Alejandro Gonzalez Izarritu to work on his film, 21 Grams. Since then, he has composed numerous scores for film, TV and video games.
Santaolalla is the producer of Carnabailito, by Gaby Kerpel, the third Nonesuch project with which he has been involved. Proving once again his versatility, Santaolalla co-produced Kronos Quartet’s Nuevo, which pays homage to the rich musical styles of Mexico.
Gustavo Santaolalla’s musical style fuses rock, soul, African rhythms, and Latin American folk.
As a young man in Buenos Aires (Argentina), Gaby Kerpel studied classical music, including piano and harmony, as well as improvisation, before realizing that traditional composition was not the road he wished to follow.
In 1985, he was introduced to La Organizacion Negra, an ensemble that was creating an original type of theater that required singular music, which Kerpel created by learning to use technology as a creative tool. He composed for and performed with Negra for the next seven years while also collaborating on other dance, film, and video projects.
In 1993, Negra was dissolved and two of its members formed a new group, De La Guarda, which Kerpel was asked to join. His brother, Anibal Kerpel (a well known pioneer of Argentine progressive rock), and Gustavo Santaolalla produced the group’s 1995 CD.
Gaby Kerpel created the music for the long-running aerial performance-art/interactive theater shows of the De La Guarda troupe. He made his solo debut on a Nonesuch CD entitled Carnabailito, which came out on August 26, 2003.
Like De La Guarda’s shows, the songs on Carnabailito are driven by South American percussion sounds and inspired by the instruments and folk melodies of northeastern Argentina.
Kerpel describes his electronic approach to folkloric sound as “finding a way to express my experiences by passing a vision of Argentine music through the filter of my taste.”
Kerpel uses technology as a musical instrument, recording live performances on his computer and extracting the parts that he likes. Once they are digitized, he edits and transposes the samples, often manipulating them with special effects. Additionally, his music uses many types of South American traditional instruments, such as small, guitar-like cavaquinho (an instrument found in Brazil, Portugal and other lusophone countries) and Argentinean charango, as well as kalimbas and Argentine flutes. He also incorporates children’s’ instruments, such as an accordion he played in “Herias sin Herir.”
While touring with De La Guarda, he discovered instruments from other cultures, which he also used on Carnabailito, such as the erhu (Chinese violin) that is featured in “Se que no vas a volver.” Kerpel often records other musicians’ performances as well, creating samples such as the drums in “Xplicamelo,” which were taken from a recording he made of Enzo Cuenca playing different patterns with a stereo microphone (also used in “Cada vez que la visita” and “Sintenerte”).
Some of the sounds heard on Carnabailito were recorded in impromptu settings, such as hotel rooms. As Kerpel says, “I like to have a portable studio system so I can keep making new music while I travel. I think sometimes it is just a matter of capturing the moment.”
In the late 2000s, Kerpel’s project was King Coya.
Fierro Chifle included Juan Manuel Sanchez, Gabriel Santamaria and Pablo Vernieri. The trio was formed in Buenos Aires (Argentina) at the beginning of 2004. The tango guitar ensemble’s idea was to reconstruct the different periods of tango, including traditional as well as contemporary expressions. Sebastian Piana, Agustin Bardi, Anibal Troilo, Roberto Grela, Homero Exposito, Julian Plaza, Horacio Salgun and Astor Piazzolla, among others, are at the turning point of a musical and aesthetic search developed through a traditional sound.
The repertoire included tango classics adapted to dance rooms as wells as concert rooms. In addition, various genres such as Tango, Waltz and Milonga were incorporated and interlaced in a dynamic show.
Fierro Chifle is an idiomatic expression which means “to drive misfortune away”
Juan Manuel Sanchez graduated from Music School of Avellaneda, Buenos Aires. Pablo Vernieri and Gabriel Santamaria graduated from music conservatory of Morin, Buenos Aires.
They were all professional musicians and teachers in Buenos Aires.
Inspired by the boleros, tangos, and bossa novas his mother played for him as a child growing up in Buenos Aires (Argentina), Aubele imbues this musical mix with elements of rock, dub, downtempo electronica, and jazz.
Aubele’s songs are at once intimate and personal, yet speak of broad human experiences. “Your inspiration always comes from your internal world and your feelings,” said Aubele, “But you expose that through your art in a way that other people can connect with. That’s where it starts becoming universal.”
Aubele has toured with such diverse artists as Thievery Corporation (whose label ESL he is signed to) and Diana Krall.