Buenos Airos happened to become a bit compressed. Due to a frozen credit card in Rio de Janeiro, I was almost a week delayed, leaving me with only 2 weeks in Buenos Aires to edit video from Rio, compose new music, find musicians and record the music, filming, etc. Thus, it turned out to be two intense weeks.
I settled in the quarter of San Telmo, which is a very evocative place with heaps of very cosy cafés. At the theatre “La Scala del San Telmo” I had – during a previous visit to Buonos Aires – noticed a pretty good grand piano. I was lucky to seal a deal allowing me to use it a few hours before noon on days, where the theatre was not being used. Through Palle Windfeldt and his friend Ernesto Snajer, I got in concact with guitarist Lautaro Mature. He became my primary collaborator in Buenos Aires. He gave me feedback and ideas for the compositions, I was making, played in one of the tracks and set me up with the other musicians later to interact.
I managed to do to compositions while in Buenos Aires. The first one originated from a drum-groove found in the Argentine folklore music. The drummer Agustin Lumerman recorded the groove, which I later listened to while composing. Therefter, Lautaro added a bit of folklore-spice, and then it was done. The track was recorded in La Scala on the day before my departure.
The second composition was inspired by the tango. Originally, it was not my ambition to create a tango in that sense, more to compose a tune with the tango in the back of my mind and finding some tango musicians to record it with. After finishing the tune, I met with composer and organiser Diego Schissi, who shared with med different kind of tango-effects, roles, characters, etc. I started out recording a beat and the piano part on the grand piano in La Scala. Thereafter I met with violinist Joaquin Chiban in his apartment, and later on the bandoneón player Martin Sued, who did his recordings at Lautaro’s.
During a lunch break at Plaza Dorrego on one of the last days in Buenos Aires, as always a pair was dancing the tango. We got chatting and decided to meet later that night, where the illumination was at it’s best, to shoot their tango-moves for the tune, which we were currently working on. Earlier, Laurato had noticed a cool wall with graffiti at a roof terrace nearby. The place belonged to an artist’s commune. They though shooting the tango at their terrace was a great ideas, so that became the location for our recordings.
Next stop Havanna.