My personal taste is what led me in the selection of the works to be included in this CD. It is the material that has accompanied me over the last few years. As a performer I feel committed to playing the music with which I feel identified. It´s the music I would have written had I known how.
Four years ago I discovered Carlos Moscardini’s playing and it was at that moment that my admiration for him and for his music began. Since then, he has become a teacher and a model for me in many things. In addition to his music, his guitar is present - playing duo with me on “Milonga de un entrevero”.
Carlos believes that Argentine music is much more that a series of rhythms. It is a language and an inexhaustible source of cultural richness with a history of fusions that continues to inevitably forge a natural destiny which affects its music as well. He says that there is an aesthetic idea that pursues him and that he cannot define because its limits are continually transforming, as he does. There is something that remains relatively constant and that is a certain concept of austerity that is ever present in native folk music, making it always interesting and difficult to achieve. The works included herein were written between 1991 and 1997.
Siro is a guitarist that lives in San Marcos Sierras, Cordoba. Yupanqui is clearly present among his influences. He says that perhaps he tries to translate a mysterious interior landscape through this powerful language that is music. He would like to tackle other similar genres or more expressive ones than those with roots in folk music, but basically he is a performer of gatos, zambas and chacareras (Argentine folk forms). “El gato verde” was written in the spring of 2001. Here we perform it as a duo with Quito Gato, who wrote the arrangement and plays the guitarrón (the bass guitar).
I cannot add anything that is not already known about the composers of the “Milonga de mis amores” and of “Pedacito de cielo”. Pedro Laurenz, the composer of the milonga, and Francini, Expósito and Castillo, the composers of the waltz, are huge personalities of all times of the tango. In this instance, both arrangements are by Máximo Pujol. In the milonga, Juan Pietranera plays piano and Gabriel Rivano bandoneón. Together we were once one of the formations of the group Tangonave. Alica Cipolla plays piano in “Pedacito de cielo”.
I was a student of Quique Sinesi for a few months around 1990. Currently he lives part-time in Germany and part-time in our country, and for the last few years has become an inevitable reference for the new Argentine guitar. His works are based on Argentine rhythms, mostly those from the Rio de la Plata region, with strong jazz influences. “Sonidos de aquel día” was composed at the end of the 80s and “Cielo abierto” in the early 90s. Both are airs of candombe.
I owe my affinity for folk music to Marcelo Raimundi. We were classmates at the National Conservatory of Music and in 1989 I first heard from his hands folk music played on solo guitar. Marcelo lives in Buenos Aires, but his family is from Santiago del Estero, a province in the northwest part of the country. On the patio of his parents house in Jose C. Paz was where I had my first contact with guitarreadas* with empanadas, Argentine barbecue and lots of wine until all hours. I return there whenever I can. The bombo leguero^ is played by his brother, Eduardo Raimundi in “Camino de las tropes” and in Marcelo’s gato “El Iraqui”. This is the piece that started everything; the one that set me on a path when I heard it come from his guitar. Marcelo is a great guitarist, singer, arranger and composer. This gato is from 1987.
Abel Fleury was born in Dolores, a province of Buenos Aires, in 1903 and died in Buenos Aires in 1958 at 55 years of age. In addition to having been a great classical guitarist, he composed 33 fundamental pieces of the Argentine guitar literature, in which he primarily recreates the rhythms of the region of the pampa. However, he did compose a cueca from the Cuyo region, which he dedicated to Nelis Guerra, his second wife from Guaymallén in the province of Mendoza. The thing that stands out the most in his music, in my opinion, is the economy of resources and all that he brings out of the instrument; more importantly, it is the depths that he dives.