Tango vocalist Maria Elena Martínez, better known as Mariel Martínez, was born March 28, 1980 in Villa Crespo, Buenos Aires, Argentina.
As a teenager, Mariel studied music and singing at the Escuela Popular de Avellaneda guided by Chocho Ruiz and Aníbal Arias.
She was become one of the leading performers of classic Argentine tango. Mariel moved to Madrid in 2002 and has toured many European countries since then.
In 2005, Martiel formed a duo with electric guitarist Alejandro Picciano. They experimented with jazz-infused tango. Famed Argentine musician and producer Litto Nebbia offered to record an album for his Melopea label in Buenos Aires. De mi barrio, was released in 2008 in Spain by Factoría Autor. The recording featured Carlos Quilici on bandoneon and Tancredo on violin.
In 2010, Mariel traveled back to Argentina for a tour. She recorded an album at Litto Nebbia studios in Villa Urquiza titled Perfume de tango. The lineup included Alejandro Picciano, Litto Nebbia, Carlos Buono, Pablo Agri, Federico Boaglio and Carlos Quilici.
Back in Madrid, Alejandro Picciano put together an ensemble called La Porteña Tango Trío along with Federico Peuvrel on piano and Fernando Giardini on bandoneon. The trio became Mariel’s regular band.
While on tour in Buenos Aires, Mariel recorded an intimate album of old tangos titled “Esos otros Tangos” (“Those other Tangos”) in 2012, accompanied by Alejandro Picciano on guitar. “Esos otros Tangos” was nominated to Best Album by a Female Tango Artist at the Premios Gardel 2014.
In 2017, Mariel released “Templanza” accompanied by the Fabián Carbone Sextet. Bandoneon maestro Fabian Carbone recovered and used the original handwritten arrangements of the legendary Anibal Troilo orchestra.
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.
Raúl Carnota was a guitarist, composer and singer who spent many years exploring Argentine folk music.
He was born October 30, 1947 in Almagro, in the city of Buenos Aires. At the age of 9 he learned how to play percussion and a few years later he learned how to play guitar.
During high school he started to compose and perform in public. His influences were American rock and Argentine music.
Carnota’s first professional experiences were as an accompanist from 1974 through 1979. During that period he performed with Cuarteto SurLos Huanca Hua, Adolfo Abalos, Susana Rinaldi, Trío de cuatro, Enrique Llopis, Hamlet Lima Quintana, and Armando Tejada Gómez y Silvia Iriondo.
In 1979, Carnota formed his own band, together with percussionist Rodolfo Sánchez and pianist Eduardo Spinassi. The group played new instrumental music based on traditional songs and Argentine folk rhythms.
In 1993 he started a quartet together with Sanchez – Saba – Chiodi. In 1998 he went back to the quartet format with Sanchez and Gonzalez. One of the final lineups was a trio with Juancho Perone and Juancho Farías Gomez.
In addition to live performances, production work and recordings, Carnota composed music for theater: Milagro en el Mercado Viejo (1985), El Fuego (1986), De Ilusiones y Porfías (1987), La Salamanca (1991), Galileo (1995).
Raúl Carnota passed away on September 27, 2014.
In 2015 he received a postmortem award for best Argentine folk music singer in the past decade.
* Como un pájaro libre, with Mercedes Sosa (Polygram, 1982)
* Suna Rocha (Polygram, 1983)
* Esencia de mi pueblo (Polygram, 1984)
* Memoria adentro (Polygram, 1958)
* Este es Raúl Carnota (Polygram, 1986)
* Entre la ciudad y el campo (Confluencia, 1987)
* Contrafuego (Melopea Records, 1994)
* Reciclón en vivo (Aqua Records, 1998)
* Fin de siglo (Aqua Records, 1999)
* Solo los martes (Aqua Records, 2000)
* Espejos 1 (Aqua Records, 2001)
* Espejos 2 (Aqua Records, 2001)
* Retrospectiva (Aqua Records, 2006)
Composer, arranger, producer, multi-instrumentalist and singer, Pedro Aznar is one of the most prestigious and respected artists to emerge from South America in recent times.
His far-reaching experience includes being a founding member of Seru Giran, one of the most influential rock (classic rock, progressive rock) groups in Argentina, and his three-time Grammy Award winning work with the internationally acclaimed Pat Metheny Group. He’s also a celebrated pop singer.
The writer of several movie scores, he has also published a book of poetry, Pruebas de Fuego Ordeals by Fire.
Pedro’s virtuoso bass playing and unmistakable vocal style, explores the roots of Argentine and South American music from a broad base, as respectful of old traditions as it is open to new directions.
On his 2006 recording, A Roar of Southern Clouds, Pedro Aznar led the listener on a journey through a rich musical tradition ranging across three continents: the ancestral song of the Andean peoples, the rhythmic legacy of Africa, and the European musical heritage, all seen through a contemporary prism with many facets.
Pedro worked with David Lebón in 2007, releasing an album titled Aznar-Lebón. That same year he was appointed as Musical Director of Estudio Urbano, the first institution to teach all things related to the music industry, with free of charge access to all courses and facilities. He also co-produced with Shakira two songs for the Love in the Time of Cholera soundtrack. The film is based on the novel by the same name by Gabriel García Márquez.
Also in 2007, Aznar performed “Canterurías”, by Chabuca Granda, for “Folklore por los chicos”, a benefit album for Garrahan Pediatric Hospital .
In 2008 Aznar recorded and co-produced with Roger Waters a song for the Alas Foundation, a not-for-profit organization created to improve education, nutrition and health programs for Latin American children. The recording also features Gustavo Cerati and various guest artists.
Aznar won the Gardel Award in 2008 the Sound Engineering category for the Aznar-Lebon album, with Ariel Lavigna and Andrés Mayo.
He formed a new band that same year with Federico Dannemann and Julián Semprini, and played a concert at Alas – The concert for children. The festival, which took place in Buenos Aires and Mexico City simultaneously, was heard live by over 400,000 people, and seen on TV by 200 million. The featured artists were, among others: Shakira, Alejandro Sanz, Gustavo Cerati, Ricky Martin, Calle 13, Fito Páez and Jorge Drexler.
Quebrado, a double album featuring new songs written by Aznar, came out in 2008 with pieces by Pedro and versions of songs by some of his favorite songwriters.
Aznar composed music for the film No mires para abajo (Don’t Look Down), by Eliseo Subiela.
He presented his book Pruebas de Fuego at the 2008 Santiago de Chile Book Fair, mixing poetry reading with songs.
In 2009 he records with Mercedes Sosa (who died later that year), Suna Rocha, Aca Seca, Power 3, Gabo Ferro, Cuban singer Haydée Milanés, Spanish Basque musician Kepa Junkera and Brazilian singer-songwriter Paulinho Moska.
Aznar won three Gardel Awards for his album Quebrado, in the categories Best Male Pop Singer, Production of the Year and Sound Engineering (the latter, with Ariel Lavigna and Andrés Mayo). The album also reached Gold Record status.
Quebrado Vivo, a live double album recorded at Teatro Coliseo, Buenos Aires, was released on CD and DVD.
Aznar published in 2009 his second book of poetry, Dos pasajes a la noche, presenting it at the Buenos Aires International Book Fair and the Santiago de Chile International Book Fair, alternating poetry reading with songs.
The internationally acclaimed Argentine pianist and composer Pablo Ziegler has been hailed as one of the world’s leading proponent of the nuevo tango. A classically trained pianist and a veteran of the vibrant jazz scene in his native Buenos Aires, Ziegler is taking South America’s most sultry and passionate music into new territory. Ziegler joins a small group of contemporary artists that includes trumpeter Wynton Marsalis and pianist Marcus Roberts who are recording both classical and jazz projects today. Ziegler is the only artist currently involved with tango projects in both genres.
Ziegler and the other members of his Quintet for New Tango – Héctor Del Curto (bandoneón), Oscar Guinta (bass), Horacio López (drums) and Quiqui Sinesi (guitar) are as adept at traditional and contemporary tango forms as they are performing jazz and world music. By using percussion and improvisational elements Ziegler enriches the nuevo tango legacy and further explores the common ground between tango and jazz.
Born in Buenos Aires in September 2, 1944 Ziegler studied music from the age of 4 until 13 in a classical music conservatory. He learned tango from his father, a tango violinist. As a teenager Ziegler fell in love with jazz. Ziegler became a professional jazz musician and formed his own band. The popularity of his jazz trio Pablo Ziegler Terceto led to his being invited in 1978 to join Astor Piazzolla’s New Tango Quintet. Until he joined the Astor Piazzolla Quintet, Ziegler had never performed tango professionally, but his ability to improvise and his virtuosity were exactly what Piazzolla wanted.
Ziegler remained with the Astor Piazzolla Quintet for the next ten years, appearing at jazz festivals all over the world. For him it was like attending the New Tango University.
In 1992, Ziegler started his own quintet and changed the instrument mix, replacing the traditional violin with a drum to explore new rhythm structures. In addition to leading his own ensemble, Ziegler has also collaborated with jazz vibraphonist Gary Burton, the Italian singer Milva and other internationally renowned artists.
A chance encounter during the summer of 1997 in Buenos Aires sparked the idea of a musical collaboration between Ziegler and Orpheus, the celebrated, New York-based chamber orchestra that performs without a conductor. The result was Tango Romance, a recording with new arrangements or adaptations written especially for the recording by Ziegler of his own music, works by Piazzolla and two classics from the late 1930s by Juan Carlos Cobián.
In 2018, Ziegler released Solo, an album of brand new arrangements of his nuevo tango pieces, as well as some new compositions and works by Astor Piazzolla, Alejandro Dolina, and Juan Carlos Cobián. Although Ziegler is used to playing his music with orchestra or small ensemble, this new solo set is a natural extension of his love and affinity for his instrument. He said, “The piano is a way to have a conversation for me; I express my feelings through piano rather than words. I always hear music in my mind, and the piano has been always accompanied my journey.”
“Releasing this solo piano album is a new chapter of my life as a musician,” says Ziegler. “There is always a first time for everything. This album happened to be one of them.”
Pablo Ziegler is also active composing music for film, theater and television.
* La Conexión Porteña, cassette (Sony Music 4-461745, 1991)
* Los Tangueros, Emanuel Ax and Pablo Ziegler (Sony Music SK 62728, 1996)
* Asfalto: Street Tango (BMG/RCA Victor 09026-93266-2, 1998)
* Tango Romance – Music of Buenos Aires with the Orpheus Chamber Orchestra (BMG/RCA Seal 09026-63233-2, 1998)
* Pablo Ziegler &Quinteto (BMG 0902663500-2, 1999)
* Bajo Cero (Enja ENJA 9145-2/US: Khaeon, 2003)
* Tango and all that Jazz, with Stefon Harris (Zoho, 2007)
* Buenos Aires Report, with Walter Castro and Quique Sinesi (Zoho, 2007)
* Amsterdam Meets New Tango, with the Metropole Orkest (Zoho, 2013)
* Desperate Dance (1201 Music, 2015)
* Tango Nuevo (Steinway & Sons, 2016)
* Jazz Tango (Zoho, 2017)
* Solo (Steinway & Sons, 2018)
Born in Buenos Aires (Argentina), Pablo Mainetti is one of the best-known and most respected bandoneon players in the world. He completed his studies of bandoneon, harmony and composition before specializing in chamber and contemporary music.
Throughout the course of his career he has recorded and played with all of the top tango artists in the Rio De La Plata area and has worked under the direction of masters Beba Pugliese, Nestor Marconi, Daniel Binelli, Rodolfo Mederos and Rodolfo Alchurrin.
He has performed in festivals such as the Spanish-American Encounters of Bogota, the Cervantino and Tango festivals of Granada, as well as the Argentina Week and the Universal Exhibition in Lisbon, Portugal. In 1996, Harmonia Mundi released Concerto for Bandoneon, his tribute to Astor Piazzolla.
* Astor Piazzolla Tango – Concerto for Bandoneon, with Orquesta de Cambra (Harmonia Mundi, 1996)
* Gran Hotel Victoria (Epsa Music, 2000)
Compartiendo Tangos, with Orquesta Sinfónica Provincial de Bahía Blanca (1999)
* Tres Rincones (2004)
* Tango Reflections Trío, with Adrián Iaies and Horacio Fumero (2005)
* Complicidad, with César Angeleri (Acqua Records, 2006)
* Borges poeta –Voces–, with Inda Ledesma – Oscar Martínez (2009)
* Partes de la suma (2011)
* Un Puñado De Buenos Tangos, with César Angeleri
* Amaramara, with Cristina Banegas (2016)
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.
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)
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.