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Search Results for: Tango

Argentine-American composer and guitarrist Alejandro Meola kindly talked to us

There is a country we do not usually talk much about in this edition, but we have found the best moment to do so, and it is the land of tango and mate, Argentina. It turns out that, on this occasion, we talked with composer, singer and guitarist Alejandro Meola, who has honored us by accepting our invitation to this very special exclusive interview we had. 

Alejandro Meola is an artist who was born in the city of Miami, but his parents moved to Argentina when he was very young, so he spent his childhood and adolescence in the aforementioned country. In his accent, we can see how influential his upbringing in Buenos Aires was.   

Next, we will touch some of the most important issues related to his career and his life in general.  

This is Alejandro Meola
This is Alejandro Meola, a very talented Argentine-American guitarist

Alejandro’s beginnings in music 

As is typical, Alejandro began to feel a great attachment to music and it all started with the guitar that was in the house he grew up, with which he played at an amateur level and began practicing slowly and improving his skills over time. He says he always knew that his vocation was music, even without being old enough to decide on these issues. 

Given that the guitar was the instrument with which he started in music, this will always be the most important element in his artistic life above any other. However, he is also capable of playing other instruments such as piano, drums and bass, which can transport him to places within his mind where the guitar does not always take him.   

With regard to composition, Alejandro started to develop in this area through the need to express those emotions he had on the inside and communicate what his feelings in an original way with the help of music and the melodies that compose it. ‘‘I like to communicate things that resonate in other people’s minds and that’s where my taste for composition came from. Besides, I think that practice and time improve your ability to communicate emotions and transmit messages to anyone who listens to you. That evolves with oneself” said the artist.  

Alejandro’s musical education 

Alejandro told us that he studied at a music school in Argentina where he specialized more on guitar and composition, but what he calls ”street training” also helped him a lot to polish his act as an artist. The experience gained out the academies is so important to Alejandro that he even defines it as ”a parallel university”, which is as important as formal academic training, if not more. 

”It’s the street that gives you the tools, the experience and the journey to be a more complete artist. Practice on real stages is critical to specialize in music as it should be” Alejandro said on the subject.  

street training is important for Alejandro
According to Alejandro, ”street training” is very important for any artist

Argentine and American roots in Alejandro’s work 

Hearing Alejandro play evidences that he is heavily influenced by legendary and world-famous Argentine rock and the artist confirms this stating that he listened a lot to Fito Paez, Soda Stereo, Charlie Garcia, Gustavo Cerati, Luis Albert Spinetta, Andres Calamaro, among others. Undoubtedly, all of these music luminaries played a very important role on how this young man would perceive music, adding to all the American rock and blues he would listen to upon arrival in the United States. 

However, he noted that being in the United States also allowed him to listen to a number of Latin artists and rhythms which he never planned on experimenting with, but he did. His song ”La Inmigración” is a good example of this. In that regard, living in New York has expanded his horizons and led him to discover salsa, Cuban and Puerto Rican music. He also says that he took inspiration from Héctor Lavoe, Cheo Feliciano and La Fania when doing one or two songs. 

”At the end of the day, my music is a mixture of who I am and the places I’ve lived. A little from there, a little from here and a little from nowhere (laughs). A little from everywhere and a little from nowhere” he said.  

Alejandro also said that he is always on the lookout for other rhythms and ideas that come his way, but always using rock and guitar as a starting point.   

Alejandro at The Bowery Electric
Alejandro Meola playing live at The Bowery Electric

Why Alejandro chose New York as his permanent residence 

Since he was very young, Alejandro had always wanted to experience the dream of living and working in his art in New York. In addition to that, he wanted to know other cities in the country where he was born because while it is true that he spent most of his life in Argentina, he was also very clear that his country of birth was the United States, so he was curious to know it better. 

Once in New York, I met all kinds of people and artists with a very high musical level, so I was able to learn a lot from all of them. I feel like the bar is rising here and that led me to want to improve further every day. In that sense, I feel that New York gives you thick skin, since there are many obstacles to overcome to be truly recognized in music” said Alejandro about the city.   

The artist has been living in New York for 10 years now and is at ease in the place in which he currently is. In addition, he has managed to find a niche singing in Spanish, which has made him very happy and satisfied with his career.    

How Alejandro deals with languages in his music 

Something very common that many well-known artists do is to record songs in both English and Spanish so that the audience they reach is bigger, but Alejandro does not believe in it. He thinks that each song must have its own language and feeling, so he prefers to do one version of each song in one language. 

When he arrived in New York, he experimented a lot with English and has several albums in this language, but noting that he could work with Spanish without problems, he began to focus his music in that direction. In fact, today, almost all of his concerts are in Spanish.   

Each language has its advantages and disadvantages in terms of sound, so I must always pay attention to that,” said Alejandro on the subject. 

It has been a great pleasure for us to count on the talented Argentinean singer Alejandro Meola for this edition and we wish him the greatest success in his career from now on. 

Read also: El Tresero Moderno San Miguel Perez 

Argentina Directory 2024

 

El Barcito Bachatero
El Barcito Bachatero
Av Rivadavia 7927
Buenos Aires, CABA, Argentina
+54 11 3167-3849

El Bar de Mon
El Bar de Mon
Marcelo Torcuato de Alvear 965
Buenos Aires C1058, CABA, Argentina
+54 11 3808-8459

CCS bar
CCS Bar
Guatemala 4802
Buenos Aires 1425, CABA, Argentina
+54 11 6276-8330

Gran Bar Danzon
Gran Bar Danzon
Libertad 1161
Buenos Aires C1012AAW, CABA, Argentina
+54 11 4811-1108

La Salsera - Multiespacio Afrolatino
La Salsera
Yatay 961
Buenos Aires 1184, CABA, Argentina
+54 11 7506-0412

Mojitos de Cuba el Tano Cubano
Mojitos de Cuba el Tano Cubano
Yerbal 1655
Buenos Aires C1406, CABA, Argentina
+54 11 5021-9936
Señor Tango Buenos Aires
Señor Tango
Av. Vieytes 1655
Buenos Aires Barracas, CABA, Argentina
+54 11 5021-9936

La Fonda Fonda Bar Argentina
Fonda La Cantaleta
1213, Av. Rivadavia
Buenos Aires 548, CABA, Argentina
+54 11 6056-7429

Pa'Cuba Club Bailando se te quita
Pa’Cuba Club Bailando se te quita
Jaramillo 1794
Buenos Aires C1429, CABA, Argentina
+54 11 11 4701-7036

 

California Directory / 2024

Noypitz
The Noypitz
333 S Alameda St Suite 115
Los Angeles, CA 90013
+1 213 265-7465

The Mayan Restaurant
Mayan
1038 S Hill St
Los Angeles, CA 90015
+1 213 746-4674

Los Globos Nightclub
Los Globos
3040 W Sunset Blvd
Los Angeles, CA 90026
+1 323 666-6669

Vermont Hollywood
Vermont Hollywood
1020 N. Vermont Ave
Los Angeles, CA 90029
+1 844 544-6873

El Floridita Hollywood
El Floridita Hollywood
1253 Vine St
Los Angeles, CA 90038
+1 323 871-8612

Stevens 71 Anniversary
Stevens Steak House
5332 Stevens Pl
Commerce, CA 90040
+1 323 723-9856

Riviera 31 Lounge Bar
Riviera 31 Lounge Bar
8555 Beverly Blvd
Los Angeles, CA 90048
+1 310 278-5444

7 Kingdoms Bar & Lounge
7 Kingdoms Lounge Bar
11301 W Olympic Blvd
Los Angeles, CA 90064
+1 424 317-0006

State Social House Restaurant
State Social House
8782 W Sunset Blvd
West Hollywood, CA 90069
+1 310 657-8100

Rock It loungue
Rock It
14239 Hawthorne Blvd
Hawthorne, CA 90250
+1 310 676-1867

The Victorian restaurant and nightlife
The Victorian
2640 Main St
Santa Monica, CA 90405
+1 310 392-4956

Alegria Nightclub Long Beach
Alegria Nightclub
115 Pine Ave
Long Beach, CA 90802
+1 562 436-3388

Sagebrush Cantina, CA
Sagebrush Cantina
23527 Calabasas Rd
Calabasas, CA 91302
+1 818 222-6062

Latin Nights at V Lounge -Salseros
Latin Nights at V Lounge
6101 Reseda Blvd
Tarzana, CA 91335
+1 818 222-6062

Black and Blue
Black and Blue
342 S Thomas St
Pomona, CA 91766
+1 818 568-2905

The Canyon
The Canyon Salsa Fridays at Fuego
205 East 2nd Street
Pomona, CA 91766
+1 909 539-1234

Carnaval Club
Carnaval Nightclub
342 S Thomas St
Pomona, CA 91766
+1 909 326-9016

The Granada LA
The Granada LA
17 S 1st St
Alhambra, CA 91801
+1 626 284-7262

Sevilla Night Clun - San Diego
Sevilla Night Club San Diego
353 5th Ave
San Diego, CA 92101
+1 619 245-1138

Tango Del Rey
Tango Del Rey
3567 Del Rey Street
San Diego, CA 92109
+1 858 581-1114

Cosmos Taverna
Cosmos Taverna
12409 mariposa Rd
Victorville, CA 92395
+1 760 552-4131

Sevilla Night Club Costa Mesa
Sevilla Night Club Costa Mesa
1870 Harbor Blvd
Costa Mesa, CA 92626
+1 949 691-8278

Legacy
Legacy
4647 Macarthur Blvd
Newport Beach, CA 92660
+1 949 880-7046

The Grape Ventura Ventura, CA
The Grape
2733 E. Main Street
Ventura, CA 93003
+1 805 212-6130

Alberto's SalsanightClub & Ultra Lounge
Alberto’s
736 W Dana St
Mountain View, CA 94041
+1 408 460 0448

Cascal
Cascal
400 Castro St
Mountain View, CA 94041
+1 650940-9500

Valencia grill
Valencia grill
1153 Valencia St
San Francisco, CA 94110
+1 415 826-9561

Kimbara Ritmo y Sabor
Kimbara Ritmo y Sabor
3380 19th Street
San Francisco, CA 94110
+1 415 872-6180

Roccapulco Supper Club
Roccapulco
3140 Mission St
San Francisco, CA 94110
+1 415 724-6940

Verdi Club
Verdi Club
2424 Mariposa St
San Francisco, CA 94110
+1 415 861-9199

Rockwell SF
Rockwell
3200 Fillmore St.
San Francisco, CA 94123
+1 415 638-6500

550 Dance Fridays
550 Dance Fridays
550 Barneveld Avenue
San Francisco, CA 94124
+1 415 309-1284

Cigar Bar & Grill
Cigar Bar & Grill
850 Montgomery St
San Francisco, CA 94133
+1 415 398-0850
Gaucho Brazilian Steakhouse & Lounge
Gaucho Brazilian Steakhouse & Lounge
2410 San Ramon Valley Boulevard
San Ramon, CA 94583
+1 925 560-6556

Retro Junkie
Retro Junkie
2112 N Main St
Walnut Creek, CA 94596
+1 925 938-4140
Yoshi's
Yoshi’s
510 Embarcadero West
Oakland, CA 94607
+1 510 238-9200

Zanzi Oakland
Zanzi Oakland
19 Grand Ave
Oakland, CA 94612
+1 669 240-0241

Sausalito Seahorse
Sausalito Seahorse
305 Harbor Dr
Sausalito, CA 94965
+1 415 331-2899

Gato Barbieri was an excellent and virtuoso Argentine saxophonist par excellence

The Argentine musician takes us on a journey through his illustrious career.

Gato Barbieri

Editor’s note: Famed saxophonist Leandro “Gato” Barbieri passed away on Saturday, April 2, 2016, in New York City. He was 83 years old.

In 2015, the Latin Grammy Award for Musical Excellence was presented to Argentine composer Gato Barbieri, one of the most deserving musicians to be honored for his extensive career, throughout which he created a bridge between Latin music and an international audience.

In love with jazz since his formative years in the city of Rosario, Barbieri trained playing with great figures of American jazz during the 1960s.

The eternal radiance of Gato Barbieri
The eternal radiance of Gato Barbieri

But his heart never left his Latin American sensibility. When he came to fame as a soloist and leader of his own group, he sold millions of records, forging a personal language that draws inspiration from tango, Brazilian cadences, the sounds of the Andes and South American folklore.

Over the past few years, Barbieri, who turns 83 on November 28, has suffered several health complications. From his home in New York, the musician spoke with remarkable sincerity about this new stage of his life, now far from his youth, but full of acceptance and hope.

You recently performed at the Blue Note club in New York and sold out. How does it feel to be a jazz legend at the age of 80-something?

When I play here at the Blue Note, people come from Russia, from Europe, from everywhere, because people identify with what Gato has done.

Now, I’m a little sick and it’s hard for me to walk. I don’t like that. I have to do exercises and things like that. I’m going to be 83 years old and it’s necessary to do these things that put me in a horrendous mood [laughs].

Life is like that, it has nice things and ugly things, and you have to keep walking, walking, walking…It’s like a tango. If you pay attention, tango talks about beautiful things: people, siblings, loves, the sweet details of existence. To this day, there are some tango songs that I find incredible.

What memories do you cherish from the beginning of your career?

When I started playing with the Casablanca orchestra, when I was 17. We played bebop music, which for me was something incredible. We used to perform at carnivals in the provinces of Argentina.

He is the most influential Argentine saxophonist in the global jazz scene.
He is the most influential Argentine saxophonist in the global jazz scene.

I also have fond memories of playing in Europe with trumpeter Don Cherry, because I learned so much. He never said anything; he didn’t talk to us or explain anything about the music we were going to play. When we played together, we improvised, and he never stopped changing his compositions. It was a great thing.

And then, in 1972, came the music for Last Tango in Paris, which brought you international fame. What was it like to write the soundtrack for such a controversial film?

It was a magical thing, because Bernardo [Italian director Bernardo Bertolucci] is an incredible guy, an incredibly talented director. I was in good spirits, but it wasn’t an easy job because there were 50 moments in the film that needed music.

I remember we took a piano up to Pepito Pignatelli’s [owner of a legendary jazz club in Rome] house, which was on the fifth floor. Doing something like that 50 years ago was not easy, but when we recorded it, it was a beautiful thing. Sometimes the difficult things are the most beautiful.

And that unforgettable main theme, which is repeated throughout the film, how did it come about?

Bernardo called me and asked me to present him with several melodies, and that they should be as beautiful as possible. We had just gone to Italy to play some concerts, and we met Bernardo. I played him three or four tunes, and he immediately chose one and said: “This is the theme from The Last Tango in Paris”.

What do you think has been the secret of your success?

Gato Barbieri
Gato Barbieri

From 1970 onwards, I recorded about 45 records. That’s a lot. I was a guy who was always doing something, for me that lifestyle was a great satisfaction. As for the sax, I never knew much about chords. I make up my own chords, put one thing on top of them… and that’s it.

It’s hard to explain why I made the artistic choices I did. I wanted to do a little bit of everything, play an Argentine chacarera, or record with an Italian singer like Antonello Venditti [the hit ballad “Modena”, in 1979]. I always chose to play music from many different countries, and people identify with that.

Undoubtedly, you have lived a privileged life….

Yes, in a certain way, yes. Michelle [his first wife, who died in 1995] helped me a lot. She’s always in my heart, because she was incredible. She knew about film, art, so many things. In that sense, I learned a lot from her. And now I am living with Laura, my wife, who is a great person.

She has given me my only son, who is now 17 years old. He is tall and very intelligent, although a bit lazy, as I was myself at his age. It must be hereditary [laughs].

EL PAMPERO (1971)

After El Gato left his native Argentina, but before becoming a Latin jazz star, Gato Barbieri spent the second half of the 1960s collaborating with great, avant-garde musicians: trumpeter Don Cherry, vibraphonist Gary Burton and bassist Charlie Haden, among others. Capping a career for Barbieri as the leader of his own group, El pampero is an album recorded live at the Montreux Jazz Festival. Four tracks with extensive improvisations, steeped in South American nostalgia.

Gato Barbieri Album Caliente 1976
Gato Barbieri Album Caliente 1976

Gato Barbieri: Latin ‘jazz’ with a touch of pop and South American folklore.

By: Ernesto Lechner

Also Read: Irakere was a Cuban group that developed an important work in Cuban popular music and Latin Jazz under the direction of Chucho Valdés

The Rumba Madre and its roots in Basque culture

The Rumba Madre is a Nashville-based group whose characteristics are very interesting and make it different from many other artists and orchestras that have appeared in this section over the past few years.   

On this occasion, we had the pleasure of talking with Basque guitarist and tresero David Vila, who revealed the most important details about the creation of The Rumba Madre and his own musical career before and after the group, so just sit tight because there is a very interesting story coming on. 

guitarrist David Vila
Basque guitarist and tresero David Vila, who kindly talked to us

Music in David’s childhood 

When David was just a little boy, in his entire family, only his grandfather liked to sing. In contrary to the case of many other artists we have had the pleasure of interviewing here, David does not come from a family of musicians, but that did not keep him from developing a taste for this artistic side over time. 

Being very small, his parents moved from Galicia to the Basque Country to work and seek a new life. In this autonomous community, the cultural environment turned very lively and punk and other similar rhythms were at their peak of popularity, which got him interested in the tuna guitar and other instruments. He also started listening a lot to jazz and blues, which became fashionable in those years. 

Since David had no possibility to be formally educated in music, he just listened carefully and imitated the sounds the best he could until he decided that he needed to go one step further in his budding career as a musician. It was then when he moved to London, England, to study his degree in guitar. He had already worked as a musician in Spain, so this work experience was very useful to what he would do later on.   

Aside from having obtained his degree in music, David also toured around Europe with some local bands, which he continued to do in the United States when he moved to Nashville.  

Currently, he is a Hispanic popular music professor at the university level, so he teaches everything he has learned to young people who want to follow his same path.   

Rubén Darío, Benjamín Alexander, and David Vila
Nicaraguan guitarist Rubén Darío, Puerto Rican bassist Benjamín Alexander, and Basque guitar player David Vila

Nashville  

The first U.S. city David went to live in was Chicago because he was very interested in exploring the blues and other genres from that part of the country, but David did not have the visa required for entry into the U.S. at the time, so his plans to go there were inevitably postponed. When he was finally able to travel, he had no choice but to go to Nebraska and stay there for about two years for lack of a better option.   

Subsequently, he chose the city of Nashville as his final destination because of the large amount of musicians who live and work there. He even went so far as to call this place ”The Disneyland of musicians” because of all the opportunities it presents in this area.   

Another positive aspect for artists is that there are a lot of well-known record labels and studios to work with, making it an excellent choice for artists looking for a place to start or continue their careers. The locals themselves call it ”the music city” and have a saying that goes ”the worst waiter is a better musician than you,” making it clear how music is perceived in Nashville.   

David’s inclination for Latin music 

In England, David had already been studying some flamenco and, while it is true that he was not an expert yet, there were not many musicians in Nebraska who played that genre, so he caught the attention of many of his colleagues and groups that requested his services. The same thing happened in Nashville and the fact that he spoke Spanish reinforced the idea that he played Latin music.   

The above led many to believe that David was capable of playing both Flamenco and Cuban music without any problem, which was not entirely certain at the time. This is how he ended up playing guitar in a Cuban son band, thanks to which he had to learn to play the Cuban tres in order to be in the band.   

Although at first, it was too complicated for him, he focused on practicing a lot and listening to recordings of treseros to be able to imitate them as well as possible. Thanks to his effort and commitment, David learned how to play it and he spent five or six years doing it until he created his own group, The Rumba Madre.   

David laughingly recalls that his goal when moving to Nashville was to play country music as he did in England, but there were so many country musicians that he chose to explore another niche and ended up studying and playing Latin and Caribbean music.   

The Rumba Madre
The Rumba Madre playing live

The Rumba Madre  

After all the experience gained by David in those years, he thought it was time to create his own project and, for this, he chose two colleagues he met in that same musical context in Nashville, Nicaraguan guitarist Rubén Darío and Puerto Rican bassist Benjamín Alexander.   

The three artists coincided many times in different bands and concerts in which they played together, so they already knew each other’s styles very well. Since they were all Spanish-speaking, migrants and musicians, they saw that they had many things in common and established a friendship that led to a band.  

Both David and Ruben took advantage of the many compositions they had made in recent years and used them as repertoire for the project that was coming. Not much time would pass before music venues and festivals began to take them into account. 

On one such occasion, they met Cultura Profética keyboardist and composer Iván Gutiérrez Carrasquillo, who had lived in Miami his whole life, but decided to try his hand in Nashville, Gutiérrez was so impressed with the music made by The Rumba Madre that he proposed them to make an album. He also acted as a contact point for The Rumba Madre to be in touch with companies and labels that would be key to the success of the group later.   

They were going to release their first album in 2020, but could not present and promote it due to the pandemic, so they had no choice but to wait for things to die down.   

So far, The Rumba Madre has experimented with rumba, punk, Cuban son, salsa, flamenco, tango and many other genres. 

Read also: We welcome Patricio Angulo from Rumbaché to ISM 

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International Salsa Magazine (ISM) is a monthly publication about Salsa activities around the world, that has been publishing since 2007. It is a world network of volunteers coordinated by ISM Magazine. We are working to strengthen all the events by working together.