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The author, guitarist and singer reflects on the changes that have been taking place in the musical genre.
With the publication on digital platforms of “Cambiando cordaje”, the great album with which Alfredo “Tape” Rubín in quartet returned to musical activity after a couple of years of silence and vital change, tango and other chosen sound atmospheres show their powers without so stop asking “how far to expand and how far to preserve tradition”, as the musician reflects.
“ The genre is re-contra super traveled and the city changed because many things happened in the world and in popular music and then... what tango is there to do? These are constant questions that we ask ourselves and today the result is this photo that is 'Changing Cordaje'”, says Rubín during an interview with Télam.
The CD, released during 2018, brings together the “Tape” with the guitars of Adrián Lacruz, Mariano Heler and Leandro Nikitoff, to, at the same time, continue a path and alter the direction that the artist himself was drawing with the repertoire embodied in “Hemispheres” (from the Almagro Quartet) and “Reina noche” and “Lujo total” (both together with Las Guitarras del Alsina bridge shared with Lacruz and Heler).
After five years, he reviews that “there is a new version of 'Farewell' that was a round trip with the Fernández Fierro Orchestra; 'Milonguética' which is an experiment with a single tonality and esdrújulas words; instrumental of the boys; the print 'Hearts of Absentence'”.
And abounds: “I think a record with many worlds”, something that condenses in the piece that gives it title where, he points out, “from that moment of the death of the old, but in which the new was not born, I remembered a song by Yupanqui where he names the energy of each string of the guitar and invited Hernán Genovese (earth), Eva Fiori (water) , “Chino” Laborde (fire) and Noelia Moncada (air) to assume one element each.”
In his home in the neighborhood of Saavedra, the author, guitarist and singer, who is one of the most prolific and accurate creators of the Argentine song, reviews the tensions and questions that marked his last years in music and personal.
Rubín assumes that “I started to visualize ruralized because I feel that the future is not in the cities and that changed my perspective of many things and I started to feel uncomfortable just doing tango and just being Argentinean”.
In this vein, the musician abounds that “from the emergence of feminism, blackness or indigenous peoples there are identities that no longer reach me or several people and tango has to take those things so as not to remain in a dead place”.
Télam: Is this a new challenge for tango?
Alfredo Rubín: No. There was never a single tango where D'Arienzo and Pugliese were so different and, for example, which one is Piazzolla? The one who revolutionized the tango or the one who toured Europe under the dictatorship? There, in the same person, the genius coexists with the individualist. But also in tango and in all the music it is more comfortable when you have your fifth, but when it opens you get more dizzy because things come in that were forbidden.
T: How does that impact creation?
AR: You have to be honest and continue to dialogue with you and with that one who is also one more. We use chords and words that are social that are not of one, the combinations capable of yes, but are aimed at people who have to receive and understand them and it does not seem very appropriate to go so far on a unique and individual journey and neither continue imitating, imitating, imitating.
T: Is there room for that bet?
AR: There is no business structure or strategy. I suggested to the boys that we should come out of a certain logic that had to do with occupying spaces or being uncomfortable. Since we have the great joy that everything has gone down, we have no need to go that way. And in the Benigno Cultural Space of Parque Patricios we had meetings, open rehearsals and reflection on lyrics and music during 2015, we repeated in Zona Tango and returned to Benigno and I think we will continue there because we feel good, it is acoustic, it is real and people get a lot of emotion.
Publication Date: 23/03/2019
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