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Discography
Members featured in the album
RODOLFO MEDEROS - Bandoneón
JUAN JOSÉ MOSALINI - Bandoneón
DANIEL BINELLI - Bandoneón
ARTURO SCHNEIDER - Winds
RICARDO SALAS - Electric bass
JORGE POCHO LAPOULBE - Drums
Members featured in the album
RODOLFO MEDEROS - Bandoneón, arrangements and direction
TOMÁS GUBITSCH - Electric, acoustic and Spanish guitar
GUSTAVO FEDEL - Acoustic and electric piano Rhodes, organ, synth mini-moog and synth strings ARP
EDUARDO CRISCUOLO - Electric bass
RODOLFO MESSINA - Drums
CLAUDIO RAGAZZI - Electric guitar
Guests musicians:
ANALÍA LOVATO - Vocals
JORGE POCHO LAPOULBE - Drums
ARTURO SCHNEIDER - Flute
Biography
Bandoneonist, composer and arranger Rodolfo Mederos is a natural musician in every sense of the word.
His forceful personality has produced a profound effect on Tango, developing a style fraught with popular essence and emotion, and drawing from every single note he strikes a myriad of deep roots and good taste.
He has never conceived Tango to be a mere local expression, unlike other genres of Folk compositions. Born in the Río de la Plata and imbued with central European traits, tango embodies the feelings of urban dwellers. In other words, Tango is not solely inherent to the city of Buenos Aires, but to other cities of the world as well.
As a composer, Rodolfo Mederos covers the gamut from popular to Symphonic pieces for different instrumental groups. As a performer, he expresses deep-felt musicality. In addition, it is worth mentioning that he has also carved out a career as a teacher and writer of both bandoneon-related matters as well as tango composition and orchestration.In the beginning, Mederos was spellbound by Astor Piazzolla and nevertheless wanted to escape that influence, wanted more. Despite have played with him. Piazzolla and integrated several years the orchestra of the other genius of Tango: Osvaldo Pugliese together with other young musicians of his generation who shared a similar musical-concept sought his own destiny.
The irruption with its group Generation Cero was unconventional and irreverent. Its sound tried a triple fusion between Jazz, Rock and the song of Buenos Aires. Looks fetched arrangements with impressionist reminiscences. It was an intentional rupture, a youthful search that wanted a new road in music.
The fact that the set counted on bandoneón does not mean that this rare and experimental music conform a variant of the tango genre, beyond that touched some Tango, because they had not "el yeite" (skill, virtuosity), and the pace and arrangements modified the melody, to the point of making it unrecognizable. However, they gradually gaining an intellectual sector, avid for news.
The first album "Fuera de broma ", which opens a whole series of this maverick exhultante bold style appears in 1976. Follow: De todas maneras" (1977), "Todo hoy" (1978), "Buenas noches, Paula" (1983), "Verdades y mentiras" (1984) and "Reencuentros" (1989).
However its features, its proposal was acquiring importance and its artistic personality was consolidated, achieving public recognition, especially abroad.
Its special ductility to fuse with different air of Tango rhythms and genres, has its most obvious manifestation, in the series of concerts that participated, invited by Folk, Pop and Rock musicians. It also highlights his contributions on albums by Mercedes Sosa and Luis Alberto Spinetta, and Joan Manuel Serrat in his disc entitled "Cansiones".
However its features, its proposal was acquiring importance and its artistic personality was consolidated, achieving public recognition, especially abroad.
Information
* Rodolfo Mederos official site
# Apologies, translated by https://translate.google.com.ar