Gordito have to die crotos said one native to a piglet on the coals. Over Martin de Rada Tilly, most of his remarkable generosity. of him and his staff, so great and kind as Martin.
That enjoyment. Alberto Merlo
the mole on my Tropilla
Alberto Merlo is now entering its herd, for its consistent quality I think it is "a flock of hair."
For luxury, nothing more, could not miss "the mole"
Let's be clear: The old Creoles often included in their herds, when animals were Disable ALL the same color or "hair", a different, hence called "the moon." A chrome-aesthetic sense, while differentiation with other herds that have hair.
Personally I think Alberto Merlo, itself, is the "Moon of the troop" of the Southern Singers. Well differentiated by a mature personality, and a serenity that could be called "tame down", but if we press it spurs a confrontation arises instantly singing spirit of freedom. .
With deep respect, very clear Elective concept southerner, took to the album's name from a poem by Omar Menvielle. And just on their own, throwing verija responsibility, not to lengthen the canter, keep cool your pingo deletes the second tenth, that for me it paints a picture Alberto Merlo in the southern ridge.
Dib 'abarajando
brake wear by the priendas
and playing with the reins
was quiet and serene
Bagüalito more than good I can never forget, so
have to provide or criticize, perhaps, that singing
the piebald
wheezing
not let this tenth
wish it were mine. and I would have devoted to this singer without breaking the formation of the herd, by air than is just, "THE LUNAR of the troop." 0svaldo
R. ANDEAN
ALVAREZ Alberto Merlo
the mole on my Tropilla
Odeon 5541 1971
01. THE MOON OF MY Tropilla - Milonga (A. Merlo, OJ Menvielle)
02. LOGGING AND WIND - Footprint (OA Alvarez, A. Merlo)
03. PA 'Who takes the cattle prod - Aire de milonga (R. Risso)
04. SWIRL OF ABSENCE - Style (F. Portal, M. Durán)
05. TIPS OF THE OLD IRALA - Story by milonga (A. Vacarezza)
06. FILLING OF VERSES THE FIELD - Southern Air (A. Merlo, VA Giménez)
07. PULPERIAS THE RED - Milonga (A. Merlo, VA Giménez)
08. THE LANCE AND THE GUITAR - Romance (CM Servetti)
09. OLD BRIDGE - Triumph (Andean O. Alvarez, A. Merlo)
10. A whistle ANYONE - Milonga (E. Velardez)
11. PEOPLE THINK - Poem (R. Risso)
12. THE Regalón DE MI TATA - Milonga (O. Mendiel)
"Recorded at Odeon Argentina"
Alberto Merlo
PROFILE
SOUTHERN SOUTH
Without anyone can post their data, originators or other factors, many years ago called Southern music *, within the Argentine native, to a certain number of beats and versifications which thrives on a wide area of \u200b\u200bthe Republic, without much precision, we might consider consists of the province of Buenos Aires, southern Santa Fe and Entre Ríos, east of La Pampa with some extensions beyond the Black River. This anonymity folkloriza the denomination. Area of \u200b\u200bgreat distances, horizons are always away, at first only men for the ranquel and puma, until Don Pedro de Mendoza germinate freely leave the cattle and horses, giving rise to two other domains: the bull the stallion in a herd of hooves and whinnying between howls of pampas, distant echoes of the brave Arauco were tuning the southern land and air.
This area, plain par excellence its climate, its scope, the long struggle that claimed its conquest and subsequent defense, took a distinctly Argentine rate differential, excellent horseman, skilled in handling his gun-tool, knife, spear hard, caressing the guitar and with the least amount of influence within the Argentine, of the sister republics that surround us.
The Southern man. or Surer as often call themselves, had her singing this song and has chosen four ALBERTO MERLO Milongas, two footprints, three wins, two figures and a style.
ITEMS THE
MILONGAS field laborer. A. Yupanqui, accurate depiction, a little sad perhaps, but full of magic that the author leaves stamped on their work.
of the past. Luna De Gayo, crying for a while and lost customs.
Cachirleando. E. Uzal and Veron, gay theme, a kind of portrait of a peasant from zocarrón and haughty, which calls for a "cheap" and sings.
the car. Evaristo Barrios, sparkling appreciation that a man makes the eponymous field with an unintended but not grotesque grace, and brings us one moment to the indelible memory of Estanislao del Campo.
Two Tracks TRACKS ALBERTO MERLO has chosen this time: I'm from Arbolito. Abel Gimenez, a song to pay home and Pa 'Dolores the same ALBERTO MERLO the author of this note, the theme and form a deep desire to travel the galley and hope is not lost in oblivion the things that made this type of travel.
WINS Brascó
Miguel: La Vuelta de Obligado, historical etched name chronicles the battle between the Navy and Allied forces under General Mansilla. Again Merle
acoyara me in production with Triumph's Corner López, as well as the first evocative, but a fact, a way of life, stay in one of the oldest in the Province of Buenos Aires that there by the year 1750 was dedicated "to the dairy, and slowed down the advancement opportunities of the savages, going strong on the coast of Rio Salado gaucho.
Arnedo Mario Gallo one of the inclusions, as it were extra-Santiago del Estero, is the Men's Triumph.
Del Charrúa FIGURES (Gualberto Marquez) with music by Rene Ruiz, stands a shed to stay, guarding a piece of history stowing jacket with customs, and so I have had my major, it would be difficult would have been to stay Fernandez de Cieza, in the District of Marcos Paz, where he learned to be a steward for the year 1920.
While not exactly a figure, but with the rhythm and strumming such MERLO gives an account of my goddaughter the Regalón, Evaristo Barrios festive theme. STYLE
Only one, but shows enough of a button. Is called Poncho Brown, and synthesizing, is the story of a poncho makes his owner and his delivery as a parting gift to a woman, giving the impression that more than the poncho, gives the soul. Belongs to J. Rial. ALBERTO MERLO
Man
field, basically the two things. Within the song, bagual without troops. Sing what you like. And what I like is that it feels, understands and carries within him, indestructible, like his childhood in the countryside. Her singing is inseparable from its approach to life, so it is authentic. Sereno appearance and shall, without unnecessary extravagance or desperate search for attention. It sings because he came to the world without paltry target of applause or money that the song is in it, intimately linked, such as blood to the wound or the light to the idea. This album
retraces the path of the composer with a win and a footprint, and in both cases the traditional rules are strictly respected, and the musical climate is southern, southern inneglablemente, with the simplicity not without pride, but of bluff, which is the heart and nerve of the Southern man do not need to carry a cross on his chest because it is in heaven. Osvaldo R.
Alberto Alvarez
Andino Merlo
SOUTHERN PROFILE
LDB-84 Odeon
01. CACHIRLEANDO - Milonga
02. RINCON DE LOPEZ - Triumph
03. I AM THE TREE - Footprint
04. THE CAR - Story
Gaucho 05. PONCHO BROWN - Style
06. MEN'S TRIUMPH - Triumph
07. My goddaughter THE Regalón - Story
08. BOUND AROUND - Triumph
09. FIELD OF PEON MILONGA - Milonga
jacket 10. SHED TO STAY - Cifra
11. PA 'DOLORES - Footprint
12. Of the past - Milonga
Martin de Rada Tilly
(*) I beg to differ with that name being more correctly mentioned that after "Surer" to the pampas, it was the South in times of conquest and aside "southern" for the broader context of current country, where including Patagonia. And I tell you, I was born and now I am Surer SOUTHERN ... Martin
Hernán Figueroa Reyes Oscar Cardozo Ocampo and his orchestra 8853 CBS
Enrique (Quique) CORIA: Son of Dora and Raymond Ferreyra Coria, born "Quique" on July 15, 1946 in Rio Tercero, Province Córdoba. From an early age she felt inclined to music, why his father gave him a guitar, to which he devotes many hours of study.
At age 15 and decides to seek other horizons of his native Córdoba in their pilgrimage by various tasks. He joined the folk group "The Randana" with participating in festivals in the country. Until we arrived in Buenos Aires. .. In the rock of Hernán Figueroa Reyes. (Whom he admires so much to draw from their records all the guitar riffs), for it opens a new path.
By then "Bocha" Martinez, lead guitarist of all Hernán, could not continue in their presentations accompanying 'live' as their studies are not allowed. It is a night of guitar "Quique" from the back of the room, takes his guitar and starts to taps when Hernan begins to sing. This, surprise, it will implement immediately a whole, which has been operating for over two years, having traveled all over the U.S., Chile, Uruguay and Brazil. SERGIO
(CAPOTE) PIÑERO: Born in the city of San Isidro on May 18, 1936, son of Dr. George E. Attorney Piñero and Susana Fuentes, third brother of a family of 6 children, close friend of Hernán since they were ten years. Shared primary school and youth raids. Practiced the same sport: rugby, hockey, athletics and football. On his nights guitarfish "Capote" learned to play the bass drum on the family home Gómez Farías. Hernan has traveled throughout the country, Chile, Uruguay and Brazil. It is extremely popular in his pen across the musical geography of Argentina ... and as always the guitar of "Snoopy" Martinez Jr and valued asset ... "brother" in this group
Hernán Figueroa Reyes
01. GIRL OF ORANGE - (Song of the coast) - H. Figueroa Reyes, Argentino Luna
02. THE SANTIAGO - (chacarera) - Figueroa Reyes Robustiano
03. ZAMBA TO SAY GOODBYE - (samba) - Argentino Luna
04. FIRST LOVE - (Paraguayan song) - Mario Clavell
05. TIENTOS - (style) - Max Barbieri, Mario César Arrieta
06. WANTING TO MOURN - (serenade) - Palito Ortega
07. THIS SONG OF LOVE - (song) - R. Anzoategui guillemots, RF Reyes
08. GOOD MOZA - (cueca) - Ernesto Cabeza, José Ríos
09. SAD URUGUAY - (sad) - Eduardo Andrade
10. CORNER TO CAMP - (samba) - Canqui Chazarreta
11. ASI ES EL AMOR - (serenade) - Francis Smith
12. Too late - (samba) - Robustiano
Figueroa Reyes Hernan Figueroa Reyes
with Oscar Cardozo Ocampo and his orchestra
Eduardo Falu Ernesto Sabato
-ROMANCE OF THE DEATH OF JOHN LAVALLE
In the novel On Heroes and Tombs The theme of Lavalle appears at the beginning and end, in a kind of counterpoint that shows how over time the major recurring dilemmas of people: faith in the midst of despair, loyalty comeback from the defeat and betrayal life resisting death. Is useless to clarify that I did not choose a hero unit on the basis of party. There is neither unitary nor federal but human beings with the misery and death.
Moreover, in the sergeant's basic loyalty Sosa wanted to give this feature of the human condition so often revealed in disgrace, redeeming us from our earthly miseries. In the novel
struggled to express these intuitions poetry by weak instrument available to a writer: words. Why did not dream of someday giving the emotional power of music?
I thought at one point to an oratory. Then I thought it would be nice to resume the old tradition of Songs Gesta. Juan Galo de Lavalle descendía de Don Pelayo y otros antiguos guerreros; en su escudo de nobleza, un brazo armado que sostiene una espada dice que no se rendirá nunca ante el Moro. Todo parecía predispuesto para que su desventurada historia permitiese retomar las tradiciones de las epopeyas medievales. Tenía un héroe y tenía un admirable trovero para que lo cantase.
Pero ¿qué forma poética emplear? Después de algunas tentativas con los clásicos versos de dieciséis sílabas, comprendí que de ese modo íbamos a lograr, en el mejor de los casos, una especie de imitación, como si hoy se construyese en estilo gótico. Entonces decidí mantener la prosa épico-lírica de la novel way of introducing the song to the songs, some of those songs I took the popular bitter, sometimes the most, I wrote them myself, trying to respect the spirit that is theirs. Thus I tried to insert our romance in the grand tradition, so, at the same time, accessible to the sensitivity of our days, language that is alive and not archaeological, and you can only move with the language they live. Hence there is no hesitation in using anachronisms as "Tachito."
I have been fortunate to find in the sensitivity, virtuosity and imagination Falú the essential elements for this risky undertaking. And the teacher has enriched Ocampo our intent with his choir. Ernesto Sabato
I had felt a deep emotion while reading the novel On Heroes and Tombs's account of the withdrawal and death of General Lavalle. He could not, therefore, welcome enthusiastically but the project of making a work with poetic musical Sabato, who returned a noble tradition of the race. Do not ignore the difficulties encountered for an attempt of this nature, because although it became a tradition, it was not possible to do an imitation but a prolongation acceptable. It was a risky attempt at novelty. But we were excited that same risk, particularly seduced us the hope of opening a route to our folklore, with more broadly and openly about such a nationalistic fervor.
We have tried to achieve unity between the poetry of the text and music. And although, the tragic nature of the narrative rhythms and nuances of the score, there was no chance of striking contrasts have sought variedación music, work has given us a valuable contribution to the choral conducting master Ocampo. Eduardo Falu
In Memoriam
The recording of this work was initiated and partially directed by Américo Bellotto, with his characteristic fervor. He died tragically in full work, and perhaps by the same intensity they did. We pay our homage here.
Eduardo Falu Ernesto Sabato-
Eduardo Falu Ernesto Sabato-
ROMANCE OF THE DEATH OF JOHN LAVALLE 82055 Philips
Elegy for the death of a soldier mourning
Quebracho Herrado Heaven (cat) March of the defeated
blue poncho (chacarera)
The barracks (traditional samba)
Maria de los Dolores (style)
Palomita
Valley Preserve my tears (song)
Elegy for the death of a warrior
The final withdrawal (up)
ancient Earth ( yaraví air) dove valley
Olmos Celedonio's dream (samba)
keep my crying (vidalita)
mourning Heaven (Cielito)
Aparicio Sosa (tune)
ancient Earth
The text belongs to Ernesto Sabato and is narrated by himself. Also belong to the lyrics of the songs, except for some historical songs.
The music is by Eduardo Falu (with the exception of the traditional samba "The barracks"), played by his guitar and his voice
The choral arrangement is OCAMPO FRANCISCO JAVIER
The vidalita is sung by MERCEDES SOSA Eduardo Falu
- Ernesto Sabato
Eduardo "Negrin" Andrade
integrates From his teenage Argentine folk movement. Settles in the city of Ramos Mejia integrating the Center Traditional Arts and Customs "La Brasa", beginning his study of poetry and music of native roots. - In the decade of the 50 'is part of the joint: The Merry Holidays Gauchos, who ran Montbrun Carlos Ocampo, pastors of Abra Pampa and Mansehra Of The Tulum, creation of the poet Buenaventura San Juan Luna (who had also founded The Tropilla In Huachi Pampa). - As a soloist, or integrating folk groups, acting on the famous rocks My Corner, My Refuge, Trocadero, Achalay Huasi, Cerrito 34 and Harmony. - Creates the trio with the singer's Mandingo Cordoba and poet Abel Figueroa Alvarez Osavldo Andino. Recorded diskettes for the Editorial Panorama April Folklorico Argentino library under the direction of musicologist Araoz Badi .- In the decade of the 60s' is stated as an author and composer, providing her works. These are edited and recorded. - Alternating their artwork with the guitar teacher becomes part of the ensemble of Horacio Guarany. - This artist was recorded several tracks of his own. After two years with the singer returns to his solo hits like Love and appear in Los Manzanares, Responsible for Chacarera, La Chinita San Lorenzo and La rustlers, among others. - In the 70's joined the cast of Luis Landriscina on channel 13, as actor and composer. Also accompanies him on several occasions to compose music Tales from Nosedonde and radio, Don Polka true. - He is the author of the soundtracks for The Marriage of Laucha, Millonarios Force with Luis Landriscina starring under the direction of Henry Dawi. This director for the movie calls him facing the sky, where it acts and sings two songs. - Back in the 80's involved in SADAIC corporate movements. Is appointed as Professor in Examining Committee - Letter to the institution. He also received the Medal Authors' Survey. - Study and disseminates the poetry of his friend the poet Nicomedes Santa Cruz and everything related to South American black folklore. - In 1994 he received the Condor Fire and Honor Diploma through Stamps and Memories Foundation, with support from the Honorable City Council of the City of La Plata, and Vicenta Castro Cambón Award instituted by the Library of the same name on Francisco Alvarez for contribution to national culture. - In those years, began his career as recognized Cosquin Festival Jury, Baradero and Ayacucho, and throughout the Province of Buenos Aires. It also integrates the Center for Folklore Studies "Don Felix Coluccio" exposing issues like "the minstrels", "Couplets Comparative Creole Chant, The Folk Song Current", "Forms and Styles of Creole Song" and "tearing of the Guitar Creole. "- In 2005 the Forum of Argentina Gaucho Tradition gives the Vega Santos Silver as a composer, and a jury partcicipa Festival Song Sadaic - Cosquín, repeating this work in 2006 and 2007. - Eduardo Negrin Andrade continued in the study and dissemination of the values \u200b\u200bof our American folklore India and Hispanic.
Eduardo "Negrin" Andrade
ROOT TRACKER
What fascinates us the singer, which holds his tireless legend through the ages, especially in our country, is basically that its song is coupled life, word and matured in the distances and the vicissitudes of existence and that by participating in their ritual sung to us in every line, every beat, every item, the result of formidable human adventure. The reporter, the prophet, the knower tracker roots of pain and happiness, which went to the depths of himself and things and return from there to give testimony, gives the singer the mythic dimension and paternal holding valid. Of this wood is the guitar sings in this work. Because speaking of Eduardo "Negrin" Andrade, the singer is speaking by definition. The singer, not the singer. The best mode troubadour tradition of Latin America. When we gathered around her singing, all of it: the gesture, the word sung or told, the saying, look, body, part of the same event and magical art, irrefutable, that connects us with past and present time and forever enriched the fleshiness of every song that will surely be ringing in us long after he has returned to the roads and perhaps a verse, a verse Refucilo, the pit of thinking, we dwell forever. A deep authentic country flavor runs through this album. A cool splash of identity. One joy of being and participating in what belongs to us: this country badly hurt cantadaque around, in one of my verses. This work is not a promise, but a result. Here, everything man, landscape, sayings, feelings, are scattered pieces of our national character that the heart meets when "Negrin" sings. Has serious and deeply artey worked with this singer's life. Listen, please: something beautiful and lasting is going to happen to silence ... ARMANDO TEJADA GOMEZ
Eduardo "Negrin" Andrade
ROOT TRACKER
philips 5012
01. WHAT WILL MY NAP? - Waltz
02. LOVE Entrerriano - bypass
03. DE LA RUE MALE - samba
04. THE CHINESE SAN LORENZO - huayno yaraví-drain
05. THE CHAQUIPURA - chacarera
06. A Santiagueña BAR - cat
07. MY FRIEND HAS A HORSE - milonga
08. LAMENT FOR OLLANTAY - huayno
09. THE ÑATUNGUITA - samba - Hnos Peralta Davila, Angel Larrosa
10. PRELUDE BY ESTEFANIA - Song
11. ARGENTINE CHASQUI - Milonga
12. THERE IS A SOUTH Lucerito -
waltz Words and music of all the songs (except the Ñatunguita): Eduardo Andrade
Contribution of El Amigo Invisible
Eduardo "Negrin" Andrade
THE SONG OF MY OLDER AND
then the man fell in love with the word and made a song for a ride the wind. Because that's the only meaning to be optorgarse the song: the breaking of bread.
In this way, the word is almost a password. One way to know, or be recognized in others. That is also how to build the kind.
is known that to meet, essentially, one must travel to the source. Because need to know which steps to locate the coordinates of his own spiritual experience. From there, if one wants to do the job with authenticity., You can build, send your details, pass on a background that is integrated into the true national culture.
All this is necessary to understand in order to measure the full extent and intent of EDUARDO ANDRADE work. Long, long has been the journey of this artist. But for rare circumstances, this is the first LP recorded in the country. It happens that sometimes the artist living document requires a sacrifice in terms of immediate release. AND EDUARDO ANDRADE is it a document with full force in folk music from Argentina.
Nothing is improvised, no attempt is superficial. And now coming to light, a genuine and strong maturity requires the listener to reflect, to stop, rest at the origin and recognized. ANDRADE EDUARDO the song is in some way, the shared word. It is the expression of a man for all men
. In a village for all people. Because
Eduardo Andrade says each word as if it really were a password. Without any remaining doubt: This is from here and always. In each sentence may well discover the source, almost touching her grandparents, understand them better over the earth, generous both to purity. Almost innocent.
And if I had, finally, to draw a balance of this disc (or twenty years of talks with Eduardo Andrade, who is the same) where you send your address, such desperate vocation, could repeat as before: ... And then the man fell in love word and made a song for him to take the wind. HAMLET LIMA QUINTANA
Eduardo "Negrin" Andrade
THE SONG OF MY MAJOR ION
international records
December 11, 1969
01. DECIMAL FOGON
02. Chaco
SAD 03.
EYES THE LAST 04. THE CHINESE
SAN LORENZO 05. NOW THAT MAKES THE AFTERNOON
06. URUGUAY
SAD 07. THE WITCHES OF FIRE
08.
HERE 09. MEMORIES OF GRANDFATHER
10. RESTORING THE LORD
11.
Bailecito
Contribution of El Amigo Invisible
HOPE VICTOR HEREDIA
SHOUTING
(His 1st. Disco)
Today things are certain. Determined by a number of imponderables that make the thing itself. Someone may say, so that there is a designated destination, marking, which pushed us to a form and a background that was specified in advance. Maybe so. Or not. Fortunately, we can not affirm or deny. But the truth is that when something is authentic, ie, when attempting to dialogue with the core values \u200b\u200band with adequate technical (the only way to do this), the result is the work of art with all its aesthetic and human.
This is the case in moving Víctor Heredia, young author, composer and performer of early maturity. If something needed to substantiate the above, come back to hear his famous samba "To charge up" again, ten times, a hundred, enough to discover ever, without end, small lights, crevices, ledges, cliffs, disturbed man. That
constant rediscovery of a work simply means that it is mature work and how difficult it is to speak of maturity in an artist of just over twenty years of age. But in this case, the risk is offset in the result that throws any analytical tool that is used with the work and interpretation of Víctor Heredia.
Here, in this very hard to face all the risks and leave with benefits, the most demanding critic, the most passionate audience, the heart of town.
Just as there are specific cases is also true to say that it is almost a sentence that Victor Heredia had, since ancient minstrel destination. This work of love that only fits in the same love to sing their best to deliver it like a bread and a hope. Victor Heredia
SCREAMING EXPECTATIONS
RCA CAL-3151 - 1968
01. HEIGHT TO COLLECT - Zamba
02. LUNA SUGAR - Song
03. JUANITO LAGUNA TRACING A KEG - Song
04. THE Nochero - Zamba
05. VINTAGE - Song
06. SANTA CRUZ IN THE MARK - Huella
07. SCREAMING EXPECTATIONS - Aire de cueca
08. GIVE ME YOUR HAND GIRL - Song
09. CACHAPECERO - Song
10. SOFTWOOD - Song
11. EAGER - Chacarera
12. SONG FOR A CHILD IN THE STREET
13. BLUE OCTOBER - Song
14. ARENAL - Song
Martin de Rada Tilly
That enjoyment. Alberto Merlo
the mole on my Tropilla
Alberto Merlo is now entering its herd, for its consistent quality I think it is "a flock of hair."
For luxury, nothing more, could not miss "the mole"
Let's be clear: The old Creoles often included in their herds, when animals were Disable ALL the same color or "hair", a different, hence called "the moon." A chrome-aesthetic sense, while differentiation with other herds that have hair.
Personally I think Alberto Merlo, itself, is the "Moon of the troop" of the Southern Singers. Well differentiated by a mature personality, and a serenity that could be called "tame down", but if we press it spurs a confrontation arises instantly singing spirit of freedom. .
With deep respect, very clear Elective concept southerner, took to the album's name from a poem by Omar Menvielle. And just on their own, throwing verija responsibility, not to lengthen the canter, keep cool your pingo deletes the second tenth, that for me it paints a picture Alberto Merlo in the southern ridge.
Dib 'abarajando
brake wear by the priendas
and playing with the reins
was quiet and serene
Bagüalito more than good I can never forget, so
have to provide or criticize, perhaps, that singing
the piebald
wheezing
not let this tenth
wish it were mine. and I would have devoted to this singer without breaking the formation of the herd, by air than is just, "THE LUNAR of the troop." 0svaldo
R. ANDEAN
ALVAREZ Alberto Merlo
the mole on my Tropilla
Odeon 5541 1971
01. THE MOON OF MY Tropilla - Milonga (A. Merlo, OJ Menvielle)
02. LOGGING AND WIND - Footprint (OA Alvarez, A. Merlo)
03. PA 'Who takes the cattle prod - Aire de milonga (R. Risso)
04. SWIRL OF ABSENCE - Style (F. Portal, M. Durán)
05. TIPS OF THE OLD IRALA - Story by milonga (A. Vacarezza)
06. FILLING OF VERSES THE FIELD - Southern Air (A. Merlo, VA Giménez)
07. PULPERIAS THE RED - Milonga (A. Merlo, VA Giménez)
08. THE LANCE AND THE GUITAR - Romance (CM Servetti)
09. OLD BRIDGE - Triumph (Andean O. Alvarez, A. Merlo)
10. A whistle ANYONE - Milonga (E. Velardez)
11. PEOPLE THINK - Poem (R. Risso)
12. THE Regalón DE MI TATA - Milonga (O. Mendiel)
"Recorded at Odeon Argentina"
Alberto Merlo
PROFILE
SOUTHERN SOUTH
Without anyone can post their data, originators or other factors, many years ago called Southern music *, within the Argentine native, to a certain number of beats and versifications which thrives on a wide area of \u200b\u200bthe Republic, without much precision, we might consider consists of the province of Buenos Aires, southern Santa Fe and Entre Ríos, east of La Pampa with some extensions beyond the Black River. This anonymity folkloriza the denomination. Area of \u200b\u200bgreat distances, horizons are always away, at first only men for the ranquel and puma, until Don Pedro de Mendoza germinate freely leave the cattle and horses, giving rise to two other domains: the bull the stallion in a herd of hooves and whinnying between howls of pampas, distant echoes of the brave Arauco were tuning the southern land and air.
This area, plain par excellence its climate, its scope, the long struggle that claimed its conquest and subsequent defense, took a distinctly Argentine rate differential, excellent horseman, skilled in handling his gun-tool, knife, spear hard, caressing the guitar and with the least amount of influence within the Argentine, of the sister republics that surround us.
The Southern man. or Surer as often call themselves, had her singing this song and has chosen four ALBERTO MERLO Milongas, two footprints, three wins, two figures and a style.
ITEMS THE
MILONGAS field laborer. A. Yupanqui, accurate depiction, a little sad perhaps, but full of magic that the author leaves stamped on their work.
of the past. Luna De Gayo, crying for a while and lost customs.
Cachirleando. E. Uzal and Veron, gay theme, a kind of portrait of a peasant from zocarrón and haughty, which calls for a "cheap" and sings.
the car. Evaristo Barrios, sparkling appreciation that a man makes the eponymous field with an unintended but not grotesque grace, and brings us one moment to the indelible memory of Estanislao del Campo.
Two Tracks TRACKS ALBERTO MERLO has chosen this time: I'm from Arbolito. Abel Gimenez, a song to pay home and Pa 'Dolores the same ALBERTO MERLO the author of this note, the theme and form a deep desire to travel the galley and hope is not lost in oblivion the things that made this type of travel.
WINS Brascó
Miguel: La Vuelta de Obligado, historical etched name chronicles the battle between the Navy and Allied forces under General Mansilla. Again Merle
acoyara me in production with Triumph's Corner López, as well as the first evocative, but a fact, a way of life, stay in one of the oldest in the Province of Buenos Aires that there by the year 1750 was dedicated "to the dairy, and slowed down the advancement opportunities of the savages, going strong on the coast of Rio Salado gaucho.
Arnedo Mario Gallo one of the inclusions, as it were extra-Santiago del Estero, is the Men's Triumph.
Del Charrúa FIGURES (Gualberto Marquez) with music by Rene Ruiz, stands a shed to stay, guarding a piece of history stowing jacket with customs, and so I have had my major, it would be difficult would have been to stay Fernandez de Cieza, in the District of Marcos Paz, where he learned to be a steward for the year 1920.
While not exactly a figure, but with the rhythm and strumming such MERLO gives an account of my goddaughter the Regalón, Evaristo Barrios festive theme. STYLE
Only one, but shows enough of a button. Is called Poncho Brown, and synthesizing, is the story of a poncho makes his owner and his delivery as a parting gift to a woman, giving the impression that more than the poncho, gives the soul. Belongs to J. Rial. ALBERTO MERLO
Man
field, basically the two things. Within the song, bagual without troops. Sing what you like. And what I like is that it feels, understands and carries within him, indestructible, like his childhood in the countryside. Her singing is inseparable from its approach to life, so it is authentic. Sereno appearance and shall, without unnecessary extravagance or desperate search for attention. It sings because he came to the world without paltry target of applause or money that the song is in it, intimately linked, such as blood to the wound or the light to the idea. This album
retraces the path of the composer with a win and a footprint, and in both cases the traditional rules are strictly respected, and the musical climate is southern, southern inneglablemente, with the simplicity not without pride, but of bluff, which is the heart and nerve of the Southern man do not need to carry a cross on his chest because it is in heaven. Osvaldo R.
Alberto Alvarez
Andino Merlo
SOUTHERN PROFILE
LDB-84 Odeon
01. CACHIRLEANDO - Milonga
02. RINCON DE LOPEZ - Triumph
03. I AM THE TREE - Footprint
04. THE CAR - Story
Gaucho 05. PONCHO BROWN - Style
06. MEN'S TRIUMPH - Triumph
07. My goddaughter THE Regalón - Story
08. BOUND AROUND - Triumph
09. FIELD OF PEON MILONGA - Milonga
jacket 10. SHED TO STAY - Cifra
11. PA 'DOLORES - Footprint
12. Of the past - Milonga
Martin de Rada Tilly
(*) I beg to differ with that name being more correctly mentioned that after "Surer" to the pampas, it was the South in times of conquest and aside "southern" for the broader context of current country, where including Patagonia. And I tell you, I was born and now I am Surer SOUTHERN ... Martin
Hernán Figueroa Reyes Oscar Cardozo Ocampo and his orchestra 8853 CBS
Enrique (Quique) CORIA: Son of Dora and Raymond Ferreyra Coria, born "Quique" on July 15, 1946 in Rio Tercero, Province Córdoba. From an early age she felt inclined to music, why his father gave him a guitar, to which he devotes many hours of study.
At age 15 and decides to seek other horizons of his native Córdoba in their pilgrimage by various tasks. He joined the folk group "The Randana" with participating in festivals in the country. Until we arrived in Buenos Aires. .. In the rock of Hernán Figueroa Reyes. (Whom he admires so much to draw from their records all the guitar riffs), for it opens a new path.
By then "Bocha" Martinez, lead guitarist of all Hernán, could not continue in their presentations accompanying 'live' as their studies are not allowed. It is a night of guitar "Quique" from the back of the room, takes his guitar and starts to taps when Hernan begins to sing. This, surprise, it will implement immediately a whole, which has been operating for over two years, having traveled all over the U.S., Chile, Uruguay and Brazil. SERGIO
(CAPOTE) PIÑERO: Born in the city of San Isidro on May 18, 1936, son of Dr. George E. Attorney Piñero and Susana Fuentes, third brother of a family of 6 children, close friend of Hernán since they were ten years. Shared primary school and youth raids. Practiced the same sport: rugby, hockey, athletics and football. On his nights guitarfish "Capote" learned to play the bass drum on the family home Gómez Farías. Hernan has traveled throughout the country, Chile, Uruguay and Brazil. It is extremely popular in his pen across the musical geography of Argentina ... and as always the guitar of "Snoopy" Martinez Jr and valued asset ... "brother" in this group
Hernán Figueroa Reyes
01. GIRL OF ORANGE - (Song of the coast) - H. Figueroa Reyes, Argentino Luna
02. THE SANTIAGO - (chacarera) - Figueroa Reyes Robustiano
03. ZAMBA TO SAY GOODBYE - (samba) - Argentino Luna
04. FIRST LOVE - (Paraguayan song) - Mario Clavell
05. TIENTOS - (style) - Max Barbieri, Mario César Arrieta
06. WANTING TO MOURN - (serenade) - Palito Ortega
07. THIS SONG OF LOVE - (song) - R. Anzoategui guillemots, RF Reyes
08. GOOD MOZA - (cueca) - Ernesto Cabeza, José Ríos
09. SAD URUGUAY - (sad) - Eduardo Andrade
10. CORNER TO CAMP - (samba) - Canqui Chazarreta
11. ASI ES EL AMOR - (serenade) - Francis Smith
12. Too late - (samba) - Robustiano
Figueroa Reyes Hernan Figueroa Reyes
with Oscar Cardozo Ocampo and his orchestra
Eduardo Falu Ernesto Sabato
-ROMANCE OF THE DEATH OF JOHN LAVALLE
In the novel On Heroes and Tombs The theme of Lavalle appears at the beginning and end, in a kind of counterpoint that shows how over time the major recurring dilemmas of people: faith in the midst of despair, loyalty comeback from the defeat and betrayal life resisting death. Is useless to clarify that I did not choose a hero unit on the basis of party. There is neither unitary nor federal but human beings with the misery and death.
Moreover, in the sergeant's basic loyalty Sosa wanted to give this feature of the human condition so often revealed in disgrace, redeeming us from our earthly miseries. In the novel
struggled to express these intuitions poetry by weak instrument available to a writer: words. Why did not dream of someday giving the emotional power of music?
I thought at one point to an oratory. Then I thought it would be nice to resume the old tradition of Songs Gesta. Juan Galo de Lavalle descendía de Don Pelayo y otros antiguos guerreros; en su escudo de nobleza, un brazo armado que sostiene una espada dice que no se rendirá nunca ante el Moro. Todo parecía predispuesto para que su desventurada historia permitiese retomar las tradiciones de las epopeyas medievales. Tenía un héroe y tenía un admirable trovero para que lo cantase.
Pero ¿qué forma poética emplear? Después de algunas tentativas con los clásicos versos de dieciséis sílabas, comprendí que de ese modo íbamos a lograr, en el mejor de los casos, una especie de imitación, como si hoy se construyese en estilo gótico. Entonces decidí mantener la prosa épico-lírica de la novel way of introducing the song to the songs, some of those songs I took the popular bitter, sometimes the most, I wrote them myself, trying to respect the spirit that is theirs. Thus I tried to insert our romance in the grand tradition, so, at the same time, accessible to the sensitivity of our days, language that is alive and not archaeological, and you can only move with the language they live. Hence there is no hesitation in using anachronisms as "Tachito."
I have been fortunate to find in the sensitivity, virtuosity and imagination Falú the essential elements for this risky undertaking. And the teacher has enriched Ocampo our intent with his choir. Ernesto Sabato
I had felt a deep emotion while reading the novel On Heroes and Tombs's account of the withdrawal and death of General Lavalle. He could not, therefore, welcome enthusiastically but the project of making a work with poetic musical Sabato, who returned a noble tradition of the race. Do not ignore the difficulties encountered for an attempt of this nature, because although it became a tradition, it was not possible to do an imitation but a prolongation acceptable. It was a risky attempt at novelty. But we were excited that same risk, particularly seduced us the hope of opening a route to our folklore, with more broadly and openly about such a nationalistic fervor.
We have tried to achieve unity between the poetry of the text and music. And although, the tragic nature of the narrative rhythms and nuances of the score, there was no chance of striking contrasts have sought variedación music, work has given us a valuable contribution to the choral conducting master Ocampo. Eduardo Falu
In Memoriam
The recording of this work was initiated and partially directed by Américo Bellotto, with his characteristic fervor. He died tragically in full work, and perhaps by the same intensity they did. We pay our homage here.
Eduardo Falu Ernesto Sabato-
Eduardo Falu Ernesto Sabato-
ROMANCE OF THE DEATH OF JOHN LAVALLE 82055 Philips
Elegy for the death of a soldier mourning
Quebracho Herrado Heaven (cat) March of the defeated
blue poncho (chacarera)
The barracks (traditional samba)
Maria de los Dolores (style)
Palomita
Valley Preserve my tears (song)
Elegy for the death of a warrior
The final withdrawal (up)
ancient Earth ( yaraví air) dove valley
Olmos Celedonio's dream (samba)
keep my crying (vidalita)
mourning Heaven (Cielito)
Aparicio Sosa (tune)
ancient Earth
The text belongs to Ernesto Sabato and is narrated by himself. Also belong to the lyrics of the songs, except for some historical songs.
The music is by Eduardo Falu (with the exception of the traditional samba "The barracks"), played by his guitar and his voice
The choral arrangement is OCAMPO FRANCISCO JAVIER
The vidalita is sung by MERCEDES SOSA Eduardo Falu
- Ernesto Sabato
Eduardo "Negrin" Andrade
integrates From his teenage Argentine folk movement. Settles in the city of Ramos Mejia integrating the Center Traditional Arts and Customs "La Brasa", beginning his study of poetry and music of native roots. - In the decade of the 50 'is part of the joint: The Merry Holidays Gauchos, who ran Montbrun Carlos Ocampo, pastors of Abra Pampa and Mansehra Of The Tulum, creation of the poet Buenaventura San Juan Luna (who had also founded The Tropilla In Huachi Pampa). - As a soloist, or integrating folk groups, acting on the famous rocks My Corner, My Refuge, Trocadero, Achalay Huasi, Cerrito 34 and Harmony. - Creates the trio with the singer's Mandingo Cordoba and poet Abel Figueroa Alvarez Osavldo Andino. Recorded diskettes for the Editorial Panorama April Folklorico Argentino library under the direction of musicologist Araoz Badi .- In the decade of the 60s' is stated as an author and composer, providing her works. These are edited and recorded. - Alternating their artwork with the guitar teacher becomes part of the ensemble of Horacio Guarany. - This artist was recorded several tracks of his own. After two years with the singer returns to his solo hits like Love and appear in Los Manzanares, Responsible for Chacarera, La Chinita San Lorenzo and La rustlers, among others. - In the 70's joined the cast of Luis Landriscina on channel 13, as actor and composer. Also accompanies him on several occasions to compose music Tales from Nosedonde and radio, Don Polka true. - He is the author of the soundtracks for The Marriage of Laucha, Millonarios Force with Luis Landriscina starring under the direction of Henry Dawi. This director for the movie calls him facing the sky, where it acts and sings two songs. - Back in the 80's involved in SADAIC corporate movements. Is appointed as Professor in Examining Committee - Letter to the institution. He also received the Medal Authors' Survey. - Study and disseminates the poetry of his friend the poet Nicomedes Santa Cruz and everything related to South American black folklore. - In 1994 he received the Condor Fire and Honor Diploma through Stamps and Memories Foundation, with support from the Honorable City Council of the City of La Plata, and Vicenta Castro Cambón Award instituted by the Library of the same name on Francisco Alvarez for contribution to national culture. - In those years, began his career as recognized Cosquin Festival Jury, Baradero and Ayacucho, and throughout the Province of Buenos Aires. It also integrates the Center for Folklore Studies "Don Felix Coluccio" exposing issues like "the minstrels", "Couplets Comparative Creole Chant, The Folk Song Current", "Forms and Styles of Creole Song" and "tearing of the Guitar Creole. "- In 2005 the Forum of Argentina Gaucho Tradition gives the Vega Santos Silver as a composer, and a jury partcicipa Festival Song Sadaic - Cosquín, repeating this work in 2006 and 2007. - Eduardo Negrin Andrade continued in the study and dissemination of the values \u200b\u200bof our American folklore India and Hispanic.
Eduardo "Negrin" Andrade
ROOT TRACKER
What fascinates us the singer, which holds his tireless legend through the ages, especially in our country, is basically that its song is coupled life, word and matured in the distances and the vicissitudes of existence and that by participating in their ritual sung to us in every line, every beat, every item, the result of formidable human adventure. The reporter, the prophet, the knower tracker roots of pain and happiness, which went to the depths of himself and things and return from there to give testimony, gives the singer the mythic dimension and paternal holding valid. Of this wood is the guitar sings in this work. Because speaking of Eduardo "Negrin" Andrade, the singer is speaking by definition. The singer, not the singer. The best mode troubadour tradition of Latin America. When we gathered around her singing, all of it: the gesture, the word sung or told, the saying, look, body, part of the same event and magical art, irrefutable, that connects us with past and present time and forever enriched the fleshiness of every song that will surely be ringing in us long after he has returned to the roads and perhaps a verse, a verse Refucilo, the pit of thinking, we dwell forever. A deep authentic country flavor runs through this album. A cool splash of identity. One joy of being and participating in what belongs to us: this country badly hurt cantadaque around, in one of my verses. This work is not a promise, but a result. Here, everything man, landscape, sayings, feelings, are scattered pieces of our national character that the heart meets when "Negrin" sings. Has serious and deeply artey worked with this singer's life. Listen, please: something beautiful and lasting is going to happen to silence ... ARMANDO TEJADA GOMEZ
Eduardo "Negrin" Andrade
ROOT TRACKER
philips 5012
01. WHAT WILL MY NAP? - Waltz
02. LOVE Entrerriano - bypass
03. DE LA RUE MALE - samba
04. THE CHINESE SAN LORENZO - huayno yaraví-drain
05. THE CHAQUIPURA - chacarera
06. A Santiagueña BAR - cat
07. MY FRIEND HAS A HORSE - milonga
08. LAMENT FOR OLLANTAY - huayno
09. THE ÑATUNGUITA - samba - Hnos Peralta Davila, Angel Larrosa
10. PRELUDE BY ESTEFANIA - Song
11. ARGENTINE CHASQUI - Milonga
12. THERE IS A SOUTH Lucerito -
waltz Words and music of all the songs (except the Ñatunguita): Eduardo Andrade
Contribution of El Amigo Invisible
Eduardo "Negrin" Andrade
THE SONG OF MY OLDER AND
then the man fell in love with the word and made a song for a ride the wind. Because that's the only meaning to be optorgarse the song: the breaking of bread.
In this way, the word is almost a password. One way to know, or be recognized in others. That is also how to build the kind.
is known that to meet, essentially, one must travel to the source. Because need to know which steps to locate the coordinates of his own spiritual experience. From there, if one wants to do the job with authenticity., You can build, send your details, pass on a background that is integrated into the true national culture.
All this is necessary to understand in order to measure the full extent and intent of EDUARDO ANDRADE work. Long, long has been the journey of this artist. But for rare circumstances, this is the first LP recorded in the country. It happens that sometimes the artist living document requires a sacrifice in terms of immediate release. AND EDUARDO ANDRADE is it a document with full force in folk music from Argentina.
Nothing is improvised, no attempt is superficial. And now coming to light, a genuine and strong maturity requires the listener to reflect, to stop, rest at the origin and recognized. ANDRADE EDUARDO the song is in some way, the shared word. It is the expression of a man for all men
. In a village for all people. Because
Eduardo Andrade says each word as if it really were a password. Without any remaining doubt: This is from here and always. In each sentence may well discover the source, almost touching her grandparents, understand them better over the earth, generous both to purity. Almost innocent.
And if I had, finally, to draw a balance of this disc (or twenty years of talks with Eduardo Andrade, who is the same) where you send your address, such desperate vocation, could repeat as before: ... And then the man fell in love word and made a song for him to take the wind. HAMLET LIMA QUINTANA
Eduardo "Negrin" Andrade
THE SONG OF MY MAJOR ION
international records
December 11, 1969
01. DECIMAL FOGON
02. Chaco
SAD 03.
EYES THE LAST 04. THE CHINESE
SAN LORENZO 05. NOW THAT MAKES THE AFTERNOON
06. URUGUAY
SAD 07. THE WITCHES OF FIRE
08.
HERE 09. MEMORIES OF GRANDFATHER
10. RESTORING THE LORD
11.
Bailecito
Contribution of El Amigo Invisible
HOPE VICTOR HEREDIA
SHOUTING
(His 1st. Disco)
Today things are certain. Determined by a number of imponderables that make the thing itself. Someone may say, so that there is a designated destination, marking, which pushed us to a form and a background that was specified in advance. Maybe so. Or not. Fortunately, we can not affirm or deny. But the truth is that when something is authentic, ie, when attempting to dialogue with the core values \u200b\u200band with adequate technical (the only way to do this), the result is the work of art with all its aesthetic and human.
This is the case in moving Víctor Heredia, young author, composer and performer of early maturity. If something needed to substantiate the above, come back to hear his famous samba "To charge up" again, ten times, a hundred, enough to discover ever, without end, small lights, crevices, ledges, cliffs, disturbed man. That
constant rediscovery of a work simply means that it is mature work and how difficult it is to speak of maturity in an artist of just over twenty years of age. But in this case, the risk is offset in the result that throws any analytical tool that is used with the work and interpretation of Víctor Heredia.
Here, in this very hard to face all the risks and leave with benefits, the most demanding critic, the most passionate audience, the heart of town.
Just as there are specific cases is also true to say that it is almost a sentence that Victor Heredia had, since ancient minstrel destination. This work of love that only fits in the same love to sing their best to deliver it like a bread and a hope. Victor Heredia
SCREAMING EXPECTATIONS
RCA CAL-3151 - 1968
01. HEIGHT TO COLLECT - Zamba
02. LUNA SUGAR - Song
03. JUANITO LAGUNA TRACING A KEG - Song
04. THE Nochero - Zamba
05. VINTAGE - Song
06. SANTA CRUZ IN THE MARK - Huella
07. SCREAMING EXPECTATIONS - Aire de cueca
08. GIVE ME YOUR HAND GIRL - Song
09. CACHAPECERO - Song
10. SOFTWOOD - Song
11. EAGER - Chacarera
12. SONG FOR A CHILD IN THE STREET
13. BLUE OCTOBER - Song
14. ARENAL - Song
Martin de Rada Tilly
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