Argentine bandoneon player, composer and arranger Rodolfo Mederos was born March 25, 1940 in Río de la Plata.
As a composer, Rodolfo Mederos covers a wide spectrum, from traditional tango to symphonic pieces for different instrumental groups. As a performer, he expresses deep-felt musicality. In the 1970s Mederos was one of the few tango musicians who collaborated with progressive rock musicians. Todo Hoy is an example of this kind of work.
Mederos is also a teacher and writer of both bandoneon-related matters as well as tango composition and orchestration.
He lived in Cuba and France and then returned to Argentina, where he founded the influential Generación Cero.
Rodolfo Mederos has collaborated with numerous Argentine artists as well as flamenco vocalists Miguel Poveda and Enrique Morente.
Otros Aires is a Tango Nuevo group founded originally in Barcelona (Spain) in 2003 but now based in their native Argentina. The band mixes tango and milongas songs from the early 20th Century with electronic melodies, sequences and lyrics from the 21st Century.
Thr 2017 lineup includes Miguel Di Genova on vocals, guitar electronic sequences; Martin Paladino on drums and percussion; Emmanuel Trifillo on bandoneon; and Diego Ramos on piano.
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.
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.
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.
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.
Federico Tellechea was born in 1979. He studied percussion and drum set with Facundo Guevara, Ariel Perez, Pablo Laporta, Fabricio Ortolan and Hubert Reyes, specializing in Rioplatense, Afrocuban, Afrobrazilian, Afroperuvian and rock-funk-Latin drums.
He has performed with tango group La Chicana, Afroperuvian group Como que no, accompanies the singer Casiana Torres and is tumbador (conga player) in the group Shamanes. He plays in Milamores and Los Ritmocerontes where he also sings background vocals.
Since 1997 he builds instruments like Peruvian cajon, Kalimbas and Marimbulas. He participated as percussionist in the group Caturga, carrying out, among other, the show “El camino del fuego”.
Dolores Solá started her professional life as a singer at the same time she began her work as an actress in theater, musicals, films and TV. She studied acting with Augusto Fernandez, Cristina Moreira, and Joy Morris among others and took singing lessons with Maria Schwartz, Flora Yungerman, and Susana Naiditch. Dolores has also taken dancing courses: Flamenco with Marcela Suez, and Tango with Luis Solanas.
She has explored different types of music such as flamenco, rock, boleros and tango, but it was the latter she finally chose as best for her expression.
In 1995 Solá founded with Horacio Estol (Acho Estol) and Juan Valverde the tango group La Chicana while singing also in the Duet “Tangachas”.
In 1996 they started their first European Tango tour. Since, she has performed with her group for diverse audiences, from receptions to Emperors and Prime ministers to theatres and suburban Tango dance clubs.
In 2009 Solá released her solo album Salto Mortal that elements of cabaret, mixing Argentine tango with fado, pasodobles and waltzes. She recreates the Buenos Aires of the Belle Epoque. The song selection includes forgotten treasures that used to be performed by Carlos Gardel, Corsini and Magaldi.
In his hometown of Buenos Aires, Cristobal Repetto brought back the traditional voice of the tango. In his early 20s, his voice could easily have been confused with the great voices of tango’s past. He leads a new generation of artists breathing new life into this genre.
Cristobal Repetto was born in 1979 on July 9. Repetto grew up surrounded by musicians, peñas (clubs where you can listen to tango and folk music) and town festivities where he quickly found a way to get on stage and show his early vocal abilities.
“The emotion I feel when I see rock kids appreciate tango, or tango old-timers appreciating what I do, is indescribable,” says Repetto. “That’s the most amazing thing. True, I’m the singer, it is my voice… but it’s also about the songs, which go beyond tango and anybody can appreciate, despite its dark elements. In that sense, I agree with Adriana Varela: tango is the ultimate heavy metal.”
His self-titled album consists of tangos composed and first recorded in the 1920s to the 1960s. “Listening and listening: that’s what my life has been all about so far,” continues Repetto. “I grew up listening to music of every genre.
From an early age, I was shown a vast musical landscape by my parents, popular music of Argentine and of the world. In my family’s large record collection, there were albums by Mercedes Sosa, Tita Merello, Jorge Cafrune, Violeta Parra and Yupanqui. Later on, León Gieco, Fito and Spinetta arrived and, with them, my first songs. Then came the candombes, Caetano and my first bands. And eventually Corsini, Magaldi, the songstresses and ‘Polaco’ Goyeneche. Today it continues to be the music that gets me going.”
Repetto toured Spain as one of Bajofondo Tango Club’s opening acts with great success.
Dino Saluzzi is one of the leading bandoneon players in the world. Timoteo “Dino” Saluzzi was born in Campo Santo in northern Argentina and led his first group at the age of 14. He began to play professionally while studying in Buenos Aires. It was in Buenos Aires, too, that he met and befriended Astor Piazzolla as the term “tango nuevo” began to gain currency.
Even though Piazzolla and Saluzzi always respected each other’s work, Dino has never cared to put a label on his own work. But he has emphasized in numerous interviews that his is not an “art music” but a music that comes out of life and attempts to express the emotions, thoughts and memories that accompany it. And this has remained as true of the work that stresses primarily his compositional projects such as the ongoing Kultrum collaboration with the Rosamunde Quartett – as it is of work in which improvisation has a larger role to play, as on Senderos.
From his first ECM album, recorded in 1982, Saluzzi’s music was well received by the world’s press.
In 1997 at the ECM Festival in Badenweiler, Germany, Dino Saluzzi and Jon Christensen, bandoneonist and drummer, came together originally to play music of Krzysztof Komeda with trumpeter Tomasz Stanko. The line-up, also included saxophonist John Surman, violinist Michelle Makarski and bassist Anders Jormin, went on to play on Stanko’s prize-winning album From the Green Hill and toured extensively.
“That was an interesting band but difficult to present live because Dino often plays so quietly,” said Christensen. “As a drummer I actually like that, bringing the volume level right down. It’s very good for intense listening. And in fact you can play quietly and very dynamically. Anyway, Dino and I qot to be very good friends on the Stanko tours, we have a very good understanding. Of course, rm never going to be a tango drummer (laughter) and fortunately Dino doesn’t want that. I know he also appreciates the possibility just to play very openly and to see what happens…”
Senderos (paths in Spanish) is one of the most spontaneously-conceived of all Saluzzi’s albums. The Argentine master musician was in Oslo, working on another project in November 2002, when producer Manfred Eicher first proposed an immediate start upon a new solo album. “And then I got a phone call,” drummer Jon Christensen recalls, “How about coming over and adding some cymbals on a few tracks?’ And then it was, ‘Well, why don’t the two of you play a few things together?’ And about three hours later, we realized we’d made an album. I love to work this way, and it seems only to happen with this record company.”
On Senderos, you can almost hear the artists thinking aloud as they shape the music in the moment. Ten of the album’s pieces are duets. Some are Dino’s songs, some are freely improvised. There are also four solo bandoneon pieces that seem to melt with nostalgia for the simple life which Saluzzi left behind so long ago in the village of Campo Santo.
In recent years Dino Saluzzi has toured and recorded primarily with his son, guitarist José Maria Saluzzi, the two of them playing in trios with Marc Johnson (Cite de la Musique) and Palle Danielsson (Responsorium).
Ojos Negros was Saluzzi’s 2007 release. It is chamber music with inspirational roots in Argentine traditions, putting the emphasis on Dino Saluzzi’s finely-crafted compositions and adds the beautiful old tango by Vicente Greco that is the album’s title track. Interplay and improvisation also have roles to play in a recording that follows six years of duo concerts as well as ten years of collaboration between bandoneon master Saluzzi and the Rosamunde Quartet, of which cellist Anja Lechner is a founder member. They have taken their time to get this right.
A classical musician firstly, Anja Lechner’s interest in tango goes back some 25 years, when she formed a duo with pianist Peter Ludwig to play their German interpretations of the idiom. She gave her first concerts in Argentina in the early 1980s and made a point of looking for tango’s master musicians. But she first encountered Dino Saluzzi at a Munich concert where he played solo bandoneon. “He was playing a music that was really his own. When we finally began to play together I can say that I entered a new world.”
The shared work has been a gradual process of becoming freer with the material while respecting it, resulting in a very integrated music. Saluzzi praises the cellist’s commitment and stylistic independence: “Anja has become part of the music without losing her own identity. I think this is very important. She doesn’t try to imitate the tango players. She has her own sound and character, and this makes our project together culturally richer.”
De Vuelta a Salta (RCA Camden, 1972)
La Cerrillana, with Los Chalchaleros (RCA Victor, 1972)
Bandoneón Tierra Adentro – Vol. 1 (RCA Camdon, 1973)
Bandoneón Tierra Adentro – Vol. 2 (RCA Victor, 1975)
Dedicatoria (Melopea, 1977)
Bermejo (Microfón, 1980) Kultrum (ECM, 1982)
Once Upon a Time – Far Away in the South (ECM, 1985) Volver with Enrico Rava (ECM, 1986) Andina (ECM, 1988)
Argentina (West Wind Latina, 1991)
Mojotoro (ECM, 1991) Rios, with Anthony Cox and David Friedman (veraBra, 1995) Cité de la Musique (ECM, 1996) Kultrum with the Rosamunde Quartett (ECM, 1998) Responsorium (ECM, 2001) Senderos (ECM, 2002) Juan Condori (ECM, 2005)
Trio Tage, with George Gruntz and Thierry Lang (PJL, 2005) Ojos Negros, with Anja Lechner (ECM, 2006) El Encuentro (ECM, 2009) Navidad de Los Andes, with Anja Lechner and Felix Saluzzi (ECM, 2011) El Valle de la Infancia (ECM, 2014)
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