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Its career after the meeting with Astor Piazzolla Did your participation in the electronic Byte of
Piazzolla occur how? How long did you remain?
Somebody made hear in Astor, then passage in Buenos Aires,
a recording of Mederos in which I played the guitar. The
scandalmongers affirmed that it had been already annoyed with all
them
guitarists older than me...
I had just separated me fromInvisible and it convenes me. I could not the
croire.Mederos, Invisible, and now Piazzolla. And after which?
I did not like the meeting between Piazzolla and the national
rock'n'roll, which seemed to me false. It occurred in fact, that
the rock'n'roll started to gain a considerable public and the discs
were sold very well.
This advertizing in a certain manner fell well for me....
But what killed to me was that the round in France was financed
partly by
government of assassins of the dictatorship of then.
We are in 1977. That which wanted to know what occurred
could it. And me, which was very young, I knew it. When
Astor came, badly for ease, to explain us right before the first
concert, that, good... in Europe they think of the things on the
Argentinian soldiers, but good.... but one did not have to say to
them, it was necessary to give a good image of the government and
country, and that in more the ambassador would be in the room...
I said myself: but what a crowned wire of p....! To
be able to make its round, this type was sold, him which is one of
rare Argentinian known in the world which can denounce what occurs!
I wanted to return to Buenos Aires... except that our round
trip tickets were confiscated with the embassy in Paris.... A
climate which charms for
to begin isn't a series in concerts, this step?
Thus... the rumours of differences between Piazzolla and
were true for you...
What is certain, it is that I crowned one
disappointment. I found a character of which the personal
ambition was immense, only
equalized by its intellectual poverty. How this
monster of musician could be also stupid? I do not
include/understand it yet. And it was terrible when it had to
justify the absence in concerts while trying to put it on the account
of conflicts between the musicians. And personal calumnies.
With the délà of the bad situation, what did that mean
for you on the musical level to have played with Piazzolla?
No matter what it arrives, it is always enriching to play
on this level. Even if it did not speak to us, it did not even
give the ' la' to grant our instruments before the concert. But
when Astor played, it was irresistible. In the group, played
also Luis Cerávolo, Ricardo Sainz, Chachi Ferreira, Gustavo
Beytelmann and especially, Osvaldo
Caló. That large musicians! When one
played, it was for truth, this group could have been an explosive
device. Too bad.
Why there was a recording live and none in studio?
It is already miraculous that this disc exists!
When Piazzolla returns from Europe, it has comments very
hard against the Argentinian rock'n'roll. It spoke about the
musical lack of training about
musicians....?
With regard to Piazzolla, I want to stop there.
Because today, it is him which cannot answer me.... and I do not
find that elegant of my share.
Without holding account of what he said, it is true, the
rock'n'roll was illiterate. And then...? Nobody had the
claim to be Mozart or Stockhausen. It is as to say that the
punks did not know
to tune a guitar? And then...? What that
changes!
Indeed, they could not play in the orchestra of a Radio nor to
the Colón theatre. But nobody asked them, to my knowledge....
I always laughed at these prejudices, between musicians
' éduqués' and the complexes of the intuitive ones. I know
geniuses which cannot read a partition. And of large readers who
are unaware of, like said it Schönberg, which the music begins
"behind" the notes.
It also spoke about a certain lack of personality at
Mederos, in its work...
Rodolfo always admitted the influence of Piazzolla
in its work.
To attack from is this point of view a little odd, not? In
all manners, Mederos already answered this charge, with its work, of
course.
When do you decide to remain in Europe and for which
reasons?
After many hesitations, a marvellous disc made with Chango
Farias Gomez, a major personal crisis and a mountain of
problems, fears and excitation, related to the exile, I
decided to remain in Paris at the end of the round with Piazzolla,
about the middle of 1977.
The motivations were of a personal, artistic and political
nature. It takes a long time to tell, but in short: I
needed to breathe freely.
Es you turned over to Argentina?
Never. They is curious, but can be my 45 years which
approach make me think seriously of going to make a turn over there
and to clear up certain things with myself.
What arrives to Argentina touches me more than I could not have
imagined it. In the medium of the hecatomb it seems that our so
chaotic country is it, generated a single culture, of quality.
And if them
things do not change quickly, they will destroy it, as
all the remainder.
In France, you created a duet with Osvaldo Caló
Initially I formed part of a group with, inter
alia, Gustavo Beytelmann and Juan Mosalini. The goal was to make
resistance, international solidarity. And to boycott the World
one
78. It is only in the Eighties that I made the
duet with my friend - and the term is a minor - Osvaldo Caló.
There I started to compose what I wanted, and I had a pianist
except standard.
The duet succeeded in being made a certain reputation in the
medium of the jazz, even if we did not do that. We had excellent
criticisms for the first two discs - ' Resistiendo has
tormenta' and ' Sonata doméstica', and one burst hunger
nevertheless!
Then came to incorporate Jean Paul Celea, another large friend,
who had played three years with John McLaughlin. Good criticisms
continued and us one ate time with other.
That it is in duet or trio, I knew again sometimes states of
grace.
Towards the end of the Eighties, I was to play with remarkable
musicians, especially of jazz and contemporary music.
The personal apotheosis, at the end of more than ten years, to
make music with Osvaldo and Jean Paul arrives in 1991 when I wrote my
first composition for trio and symphony orchestra.
Franck Cassenti filmed the process and one made several concerts
in Brittany and in Paris. The film was diffused with the TV.
I had just carried out one of my dreams. And it was
necessary to think of making another thing.
I would like that you speak to me about your activities
after this period, which are not known in Argentina.
This work, in particular, Dialogos, made that one rather requests me as a type-setter that as
an interpreter. To keep it
level becomes work, much of work. I passed much
from time with the composition, arrangements and the direction of
orchestra.
In the medium in a concert in the majestic room of Radio France,
I found myself to play with Michel Portal, Jean-François Jenny-Clark
and other superstars of the European musical universe and I said
myself: this is my last concert as a guitarist. I realized
that something had just broken in my passion relation with the guitar.
Is necessary to recognize that one eats better as a type-setter
that as guitarist, and in more one says to you: ' Maestro'.
Which should CDs listen to us if we want to know the
current music of Tomás Gubitsch?
Undoubtedly the next one, whose provisional title is '
Manada de Souvenirs'. And you will find a great part of who I
am, a mixture of contemporary symphony orchestra, with accents of
Buenos Aires, by adding rhythmic programmings, which come essentially
from the same orchestra, but very worked over again to the computer.
The disc with which I am most satisfied is: '
Unceasingly... suite'. It is an experiment which I made during
one year in Mans and which finished by a spectacle of dance and music
for orchestra, four soloists (piano, low, battery and keyboard)
four-bit byte of saxophones, groups variable winds and 50 unemployed.
One would need another interview for
to tell all this....
Recently I read a comment on a named experiment '
Lambarena' which seems rather interesting.
What currently arrives, it is that when I do something
which plait me, I collect praises, price, etc... but not a penny.
And when I make things without interest, to goes-quickly,
without much effort
intellectual, they become commercial successes. It
is lamentable, but it is the case of this disc ' Lambarena', and
others that I
will not quote.
It is enough to say that it is a summary of Bach and Gabonese
music. What know Jean Sebastien and the Gabonese music, I them
be sorry.
Which are your next projects?
1°) To smoke less.
2°) a music for a film in Paris, a spectacle in Barcelona and to
finish my next disc
3°) To go to Buenos Aires, can be
4°) to remember Me two sentences: ' To mature is
to seize its potentialities and to accept its limites' and ' only
success is the bonheur'
5°) To change the photographs and to translate my site,
as suggests it to me my elder son since months
(www.gubitsch.com/)
6°) To go to more often see the sea
7°) To find a seventh project
You want to say something of other?
I must confess that I find astonishing that somebody
remembers me. And this without false modesty. In any case,
of the years are
passed since my ' glorious time argentine' which lasted
only a few months...
I had much pleasure to answer your questions.
Thank you for this flash-back which enables me to continue
to put a little order in my
history
with the pleasant authorization of Humberto Luna (Black
Moon)
Interview carried out into 2002/3
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