Tag Archive | "jazz"

Walter Malosetti: Argentine Jazz Maestro


Walter Malosetti and band @ Notorius (Photo / Lautaro Aránguiz)

“Walter, he’s the Piazzolla of Argentine jazz!” This is how an organiser of the ‘Jazz Al Fin’ Festival in Ushuaia recently characterised Walter Malosetti to an unenlightened reporter. If you don’t get the reference then you should really do yourself the favour of digging into the rich musical history of Argentina – Walter Malosetti would be a great artist to start with.

Walter Malosetti is jazz guitar virtuoso, his expertise equals that of his greatest influences: Django Reinhardt, Wes Montgomery, Charlie Christian, Oscar Alemán, Joe Pass and Jim Hall. Like these other masters of the craft, Walter is thoroughly steeped in the jazz and blues canons, and he uses these foundations as points of departure into chirpy, mesmerizing improvisations. He often murmurs along to his solos, weaving his way through sweet melodies that words would be too clunky to support. His big, worn carpenter’s hands nimbly glide over the fretboard, occasionally pausing to let a single tone ring out, and then plunging back into a meandering solo.

Walter was born in 1931 in Córdoba, and spent his early years in the Buenos Aires suburb of El Palomar. His father and older brother both played the guitar, and he developed an early love for the instrument. He used to listen to the famed big-bands of the ’30s and ’40s on the radio. By age 14 he and his band, appropriately named ‘Jazz Walter’, were giving regular weekend performances at a local dance hall. Every so often, famous jazz artists of the national scene would perform in El Palomar and let young Walter sit in with them. Among others, Walter proudly shared the stage with saxophonist ‘Gato’ Barbieri, pianist ‘Baby’ Lopez Furts and bassist ‘Negro’ Gonzalez—apparently, no matter the country, jazz musicians always carry hip nicknames.

During ’50s Walter began recording and performing with several different groups: Guardia Vieja Jazz Band, California Ramblers, Blue Strings and the Swing Timers. In the ’60s he formed the trio Swing 39, with Carlos Acosta y Héctor Basso. Swing 39 played what Walter describes as “French, Hot Club” style. The music greatly resembles, in style and calibre, that of Django Reinhardt. The band gained notoriety and toured throughout the country during the ’60s and ’70s. Swing 39 was the first jazz band to play at the venerable Teatro Colón.

Seeking to augment his musical proficiency, Walter studied classical guitar with the well-known performer and teacher Irma Costanzo. An eternal student of music, Walter explains, “my passion and my mind were always with jazz, but I like to improve myself and learn new things.” Walter decided to share and encourage this love of learning with others, and  became a certified guitar instructor.

Teaching and sharing his love of jazz became a major part of Walter’s career. He founded one of the first jazz institutes in Argentina, ‘La Escuela Superior de Guitarra y Jazz’. At the institute, he and other prominent figures of the national jazz scene offered classes for many different instruments. Many of the most distinguished Argentine jazz artists today attended classes at ‘La Escuela Superior’.

During this period Walter also began to publish guitar method books. Today, he has published 11 such books. His knowledge and mastery are in constant demand and he still teaches, including many lessons given via skype to students all over the country and abroad. He is enthusiastic about teaching and promoting jazz in Argentina. When asked about the scene today he said: “Jazz is flourishing; today the amount of young musicians who play professionally has greatly increased since I started 64 years ago. Also, there are many more fans of the genre.”

In more recent years, Walter has been travelling abroad to perform, gracing stages from New Orleans to Norway. He travels to Spain at least once a year, to tour and visit his daughter. In 2005, he was invited to perform at the International Guitar Festival of Barcelona, which annually hosts the best guitarists in the world. That same year, Walter was honoured with the Clarín award for person of the year in the jazz category.

Today, at age 79, Walter still maintains a full schedule. He teaches classes, composes and records new tunes, and performs with his current band, ‘The Walter Malosetti Trio’. Joining him in the group are Mauro Vicino on rhythm guitar and Guillermo Delgado on upright bass. The three are linked with a tight chemistry and their shows are exhibitions of improvisational virtuosity.

Following a recent Malosetti Trio performance at the Buenos Aires jazz institution,  Notorious, numerous members of the audience hummed and whistled jaunty little melodies  as they exited the venue. They had spent the last few hours wrapped up in an engrossing conversation – a conversation free of words – that had inspired them, and that they weren’t yet ready to let end.

For more information on Walter Malosetti, his music and upcoming performances, visit www.waltermalosetti.com.ar

You can catch The Walter Malosetti Trio on 24th July at Notorious, Callao 966. For  reservations call 4813-6888. In August, The Walter Malosetti Trio will be playing Thursday, Friday and Saturday evenings at the Torquato Tasso Cultural Centre, 1575 Defensa. For reservations call 4307-6506.

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Lisandro Aristimuño Encourages Independent Music


Photo by Beatrice Murch

Lisandro Aristimuño is a young singer from Viedma, in Río Negro province, Patagonia. At the age of 31, he is releasing his fourth album ‘Las Crónicas del Viento’ and has already toured several times in Europe. Music critics like to compare him to an Argentine version of Radiohead singer, Thom York. The singer has had an unusual career worth knowing to better understand independent music in Argentina.

He released his first album ‘Azules Turquesas’ edited by the independent label Los Años de Luz Discos in 2004. It was cited as one of the 50 best albums of the year and Lisandro was selected as Best New Artist by Argentina’s Rolling Stone and Les Inrockuptibles. He was also a finalist at the Carlos Gardel award in the new forms of folk music category.

In November, Lisandro gave four concerts to present his new double album, which is divided in two chapters. Chapter 1 was recorded in a Buenos Aires studio and is closer to electronic music. It involves Lisandro’s band (also called Los Azules Turquesas) and a few guests. “This is more a group album, made by friends, it’s more like a chat, a symbol of communion,” says the singer about the first part of his new album.

The second chapter was recorded in a house in Spain. Lisandro claims his intention was to produce a more rustic and homely sound. In the past, the singer has always recorded his music at home. “It gives an amazing dimension of imperfection to the sound,” he says. “In the background, you can hear the sound of the street, your breath or just your own silence … That’s what gives originality and authenticity to a record.”

Lisandro describes his new album as the tale of his Patagonian childhood recounted by the wind. “Being born in Patagonia, I have been told when I was younger that the wind tells you lots of things, and I have chosen to sing them to people.” The singer compares himself to a bird, lifted by the wind and observing his land from different view points.

Strong wind on the pampa

After attending one of Lisandro’s concerts at ND Ateneo, I realised that although a bird can fly on its own, it often needs to fly in a group, and Lisandro’s band plays a big part in his work.

From the first song, ‘Es todo lo que tengo’, I can tell the prominence of his voice is clear. However, I thought the mix of electronic effects and jazz instruments was very enjoyable. The band consists of five musicians, composed of a clarinet, a double bass, a saxophone, drums and a keyboard. Every musician was also a backing vocalist. The folkloric music was brightened up by various electronic effects which made it more experimental and even more exceptional.

Lisandro has always been into the independent distribution scheme, a mode that is getting bigger and bigger in Argentina. Independent labels represent 23% of the music industry in the country and sell three million records a year for $41.2m.

A music production is said to be independent when it does not belong to a multinational company. It may include some self-produced artists although some labels have a market insertion comparable to the multinational enterprises. The two types of labels are mainly differentiated by the selection they make in their catalogue. Multinationals look for safe bets, basing their offer on large-scale launchings of similar products. They want quick results on their investments which reduces cultural diversity.

The importance of independent labels is recalled by Carlos Ulanovsky, music journalist and head of Radio de la Ciudad, when he sings the praises of Los Años Luz Discos. He says, “how difficult should it be to build a balanced catalogue that call attention and generates diffusion, public relations, sales and stays authentic. It is genuine public interest.”

Many of the large record companies in Argentina are not looking for new artists anymore. This important mission now relies on independent labels. However, independents have always had a tough life in competing with multinational record companies. They often lack the resources to sell through several media (records, video, movies, TV and the Internet). Mainstream Argentine radio, for instance, is known to be mainly talked-based radio and the music slots are already dominated by larger labels.

For a long time, the government has kept quiet about the topic but the recently approved media law has a few promises for independent artists. In radio broadcasting, 30% of music will now have to be Argentine music, with 50% of those artists being independent. For law makers, it is the artists who own the commercial rights of their own recordings. The government has also recognised the necessity of creating a fund in favour of the music industry of which 2% will be intended for the creation of a national music institute.

Another issue is distribution. In order to have your distribution to work you need two main investments. The first is advertising, but prices are too high for independent labels since the cost for an ad broadcasted twice a day for a month can reach the price of $5,200. This is a major investment for small labels that does not guarantee an effective promotion of their product. The second is distribution fees that take between 25 and 30% of the selling price and make it a hard job for small companies to survive off their sales.

But there is some hope as there are a large number of independent labels already in existence – there are some 70 in Buenos Aires alone – something that guarantees large musical diversity.

Photo by Beatrice Murch

Lisandro’s career is an important inspiration for Argentine independent artists. The singer represents international success while applying the rules of independent labels. His four performances in the ND Ateneo and the one in Rosario have been the only way he has promoted his album. On the day I went to discover the singer, there was hardly a free seat. Much of the audience was already fan of the Patagonian singer and sang along to the songs they knew.

Independent labels are more and more accepted as a working alternative to commercial distribution. In the international music industry, well-known artist have shown great support to the concept. Back in 2007, British band Radiohead released their album ‘In Rainbows’ through their own website a few months before the physical release. Customers could give whatever payment that they wanted including nothing. The site only said was “it’s up to you”.

Resemblance between Lisandro Aristimuño and Thom York was right to be tackled. Not only are the two artists linked by their music style but also by being both ambassadors for independent music. When Radiohead would be more on the international scale, Lisandro’s move is an important step forward for independent artists in Argentina. It will hopefully make people turn their back on commercial labels and convince them to support more fair-minded practices.

For more information about the artist, visit www.lisandro.biz For upcoming tour dates go to www.myspace.com/lisandroaristi

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Today at Buenos Aires Jazz Festival


14:00 h Clínica de guitarra a cargo de Ben Monder

Ben Monder

Café Vinilo Gorriti 3780

17:00 h

Calle 54

Centro Cultural Recoleta / Microcine

Junín 1930 17:00 h

Documentary retracing Fernando Trueba’s favourites latin Jazz bands. The various artists draw a portrait of themselves through conversations with the director.

Director: Fernando Trueba
(Spain, France 2000, 105’)
Starring: Paquito D’Rivera, Eliane Elías, Chano Domínguez, Jerry González, Michel Camilo, Gato Barbieri, Tito Puente, Chucho Valdés, Chico O’Farrill, Israel López “Cachao”, Orlando “Puntilla” Ríos, Bebo Valdés y Carlos “Patato” Valdés.
Duración: 105 minutos.

Músicos x Músicos

Fernando Tarrés  Gorka Benítez  Rodrigo Domínguez

Centro Cultural Recoleta / Espacio Living

Junín 1930

Saxophone
Gorka Benítez y Rodrigo Domínguez

18:00 h

Sergio Poli Cuarteto

Sergio Poli Cuarteto

Jazzología Centro Cultural Recoleta / Terraza

Junín 1930

Sergio Poli (violín)
Pepe Angelillo (piano)
Luis Carcacha (double bass)
Daniel Viera (drums)

19:00 h

López Ruiz – Fraga – Boco Trío

López Ruiz – Fraga – Boco Trío

Jazzología Centro Cultural Recoleta / Terraza

Junín 1930

Manuel Fraga (piano)
Jorge López Ruiz (double bass)
Germán Boco (drums)

20:00 h

Trío Mora – Etchenique – Ibarburu (Uruguay)

Trío Mora – Etchenique – Ibarburu

Centro Cultural Recoleta

Junín 1930 20:30 h

Nicolás Mora (guitar y bandoneón)
Andrés Ibarburu (bajo y cello)
Gustavo “Cheche” Etchenique (batería y percusión)

Ernesto Jodos 6tet: La música del Gato Barbieri: tomando lo que a uno le sirve

La Trastienda Club > Balcarce 460 21:00 h

Ernesto Jodos (piano)
Sergio Wagner (trompet)
Carlos Lastra (saxo tenor and soprano)
Natalio Sued saxo (tenor)
Hernán Merlo (double bass)
Luciano Ruggieri (drums)

D’3 Pardo – Posé – Roper (Spain) y Steve Cardenas Trío (U.S)

D’3 – Pardo – Posé – Roper  Steve Cardenas  Pablo Motta Sergio Verdinelli

Complejo Cultural Cine Teatro 25 de Mayo

Av. Triunvirato 4444 21:00 h

D´3 Pardo-Posé-Roper (spain):
Jorge Pardo (saxos y flute)
Francis Posé (double bass)
José Vázquez “Roper” (drums)

Steve Cardenas Trío (U.S):
Steve Cárdenas (guitar )
Pablo Motta (double bass)
Sergio Verdinelli (drums)

Oscar Feldman Cuarteto

Oscar Feldman  Hernán Jacinto Jerónimo Carmona Oscar Giunta

Centro Cultural Recoleta / Terraza

Oscar Feldman (saxos)
Hernán Jacinto (piano y keybords)
Jerónimo Carmona (double bass)
Oscar Giunta (drums)

Junin 1930 22:00 h

Roberto y Félix Lecaros (Chile) + Manuel Ochoa y Ramiro Penovi (Argentina)

Contracuarteto  Manuel Ochoa  Ramiro Penovi

Café Vinilo

Ramiro Penovi (guitar)
Manuel Ochoa (piano)
Roberto C. Lecaros (double bass)
Félix Lecaros (drums)

Goritti 3780 22:30 h

Nicolás Ospina Trío (Colombia) + Andrés Pérez y Cristian Gallardo (Chile)

Contracuarteto  Andrés Pérez  Cristian Gallardo  Nicolás Ospina Trío  Ezequiel Dutil Alejandro López

Club Lounge Reconquista 974 23:30 h

Andrés Pérez (saxo tenor)
Cristian Gallardo (saxo alto)
Nicolás Ospina (piano)
Ezequiel Dutil (double bass)
Alejandro López (drums)

Jam session con Gillespi & amigos

La jam La Trastienda Club Balcarce 460

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Jazz – Eleonora Eubel


Eleonora Eubel and Trio are presenting songs from their latest album “Mirrors of Water”, taking their sounds to a new and different level, with hints of the artists Horacio Silver and John Scofield. Show your support for independent music by going along. Notorious, Callao 966. It starts at 9.30pm.

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