|
Author: Bazely Solange Come to France to return visit to the one of its
sons, to its friend Pons and for the marriage of the singer Normalized
Basso with the actor Hugo Herrera, Jairo passes quickly on its
successes of years 70/80 and in spite of the recording of 600 songs
over 33 years of career, a great humility and a glance turned
fundamentally towards the new many and varied projects.
Living again in Argentina since more than 10 years, because it
tested the extreme need to do something over there. It realized,
while living in Spain and France, that the Argentinian public followed
it by far, as an echo from what occurred elsewhere, but without
success legitimates according to him. It was very difficult to
maintain a relation strong with its Argentinian public with which it
did not divide any more the daily newspaper. Many Argentinian
friends said to him that it was necessary that it returns to
Argentina, that he would always have his place. And it is
exactly what occurred. It has a relationship with the truly
incredible public. Though it makes, the public forgives him all!
Able to sing folklore, rock'n'roll, tango and unceasingly liking
to confront itself with different styles, it launches out challenges
regularly, indéfectiblement followed by the public.
Solange Bazely: You represent Argentina and yet you
do not come from Buenos Aires but from Cordoba.
Jairo: Cordoba is a place very favourable with the
development of the young artists of talent. I live in Buenos
Aires but I sing much in Cordoba. Moreover, I always make the
first of my discs or my spectacles with Cordoba. It is almost a
ritual, or like a method for a very long time. I do not do it by
"cavala", but we are very proud remarkable differences between
Buenos Aires and Cordoba. It is a species of competition placed
rather on the side of people of Cordoba, because the porteños are
rather the holders of the capacity, the center of the universe.
Then against that, one can nothing (laughter). But on the
other hand, it is true that in the field of arts and the music,
Cordoba is one of the strongest places of Argentina. Since
always. Even for the tango. Of course, it is an urban
music, and there were always large musicians of tango in Cordoba as in
Rosario. In this moment for example, I compose with a poet of
Cordoba which is called Daniel Salzano who is marvellous.
S: Speak to us about the folklore and your friend
guitarist of Tucuman...
J: Juan Falu is the largest guitarist
improviser whom I know. During two years, I played a spectacle
on Atahualpa Yupanqui with four musicians. And each time, one
moment ago when one was both only, without sound system, without
anything and one sang five songs like that. And each time, each
evening, arrangements was different. Never I heard it play the
same thing twice. And I said myself: but by where it goes,
how it will make to leave itself there... Me, I was surprised,
but that required a total concentration and a challenge. And I
learned much from this experiment, to live a little on the edge of the
cornice, like a funambulist. Ca does not have anything creature
of habit!
With the end of the spectacle, behind the scene, there was a bar
for the artists, with a rather large space. And the owner of the
theatre, Iglesias, prepared us with dining, for the pleasure of the
success of the spectacle, because it was content, it walked...
And each time, there were artist-friends who came to divide with
us this after-spectacle. It was a species of third half-time.
And each time, there were dancers, singers, poets who played,
which sang, which danced after the spectacle... One closed the
doors and it was the Yupanqui spirit which concentrated all that, I
think. Each time, the spectacle finished towards 23h30
approximately and then the after-spectacle lasted of midnight up to 6
hours of the morning, tous.les.jours, during two years! It is an
imperishable memory!
I had Juan Falu with the telephone before this voyage in Europe
and each time we speak, we end up speaking about this time.
Because, more time passes, more one idealizes these moments.
In fact magic moments will not reproduce. I think that it
will be never again possible to remake it. At the beginning, it
came from a spontaneous gesture and it remained like that all the
time. Ca pointed out a little bit the old spectacles to me with
the gipsies. But the level of the artists which came there
was impressive. In fact, it would have been necessary to do that
in spectacle, for the spectators (laughter). The spectacle had
much success.
S: I was likely to meet Doris and Oscar Cardoso
Ocampo right before they do not assemble Diario del
Regreso. Can you speak to us about this
experiment?
J: It acts of a work completed on texts of Hamlet
Lima Quintana. It started to write this work at the moment even
where it heard with the radio that a Bolivian General had announced
the exact place where the bones of Che Guevara were buried. Up
to that point, nobody knew it exactly. And he wrote it with the
first nobody. He said to me that it was as if somebody dictated
the words to him. Because makes some, it was Che which spoke.
He spoke about his return on ground, it was a species of
resurrection. There are many analogies between the characters of
Che, of Christ, especially now. In Bolivia, it is impressive.
Him for miracles are asked. It wrote 15 poems. And a
day, it meets Oscar Cardoso Ocampo and they had for a long time been
promised to write something together and they had never succeeded in
doing it. Oscar found that these poems were appropriate
perfectly for this idea. And a day, they needed an interpreter
to make the voice of Che while singing, and they called me. The
project started to grow and there was much enthusiasm on behalf of the
musicians and one succeeded in presenting it at Cuba, in Santa Clara
and there it was really incredible. Initially how the Cubans
accept a work of fiction in which Che speaks! Che, it is the
character for the Cubans, especially in Santa Clara which one calls
the city of Che. And it is where there is the Guevara memorial, a
species of crypt where several niches with the companions are located
who fell with Che in Bolivia. They all are there. With
each niche, there is a portrait in relief of each one of them and then
the name or the nickname below. The only difference, it is that
that of Che is on a saliente (salient angle). _ and then it
there be a light of which one know from where it leave which arrive
exactly on the star of its beret. It is the only difference.
When one arrived there, Hamlet went all alone and it had this
dilemma, and it could not be explained exactly why it had written
that, put aside that it loved much the character, that it admired,
there was also an ideological coincidence also, finally... and then,
it returned, he was all alone with the Memorial. It looked at
Che and it said: Why me? It was very moved. Why I
was selected to do that? It is insane, not?
And when the concert was made, with twelve musicians of
Argentina, it was a species of national selection of football and one
added the symphony orchestra of Santa Clara, with musicians come from
all the area. And it was very moving for me and very difficult
to sing at the same time. It was on the place of the Revolution
and I saw the public, the orchestra and then I started from a statue
of Che which was with sixty meters behind, more in top. I
started from there, I disappeared and I reappeared on the scene.
I was behind the statue when I started to speak. And I
said "my brothers yes yes it is me. Yes my brothers of Bolivia,
my brothers cuban... It is me "and I left from there, with the
music... (frissons) the text is of such a beauty that everyone was in
tears. At one time, there is a song "Despedida LED anochecer"
where it bids its farewell with the ground and everyone cries,
everyone. It was very impresionnant. One rejoué it in
Havana, the spectacle was even retransmitted on line by cuban
television.
Unfortunately then, both died. Hamlet was sick for a long
time and Oscar had a car accident. And then afterwards, one did
not know how to direct it. There is always the possibility of
doing it, work is there, the music is... the desire there for doing it
too. It will be done but it is necessary to leave time to
act...
In my next disc in Argentina, one wrote a song with
Daniel Sazano, on Che Guevara which is called Guevarita which speaks about the youth of
Che.
S: And you have other collaborations with authors?
J: Yes, I worked much with Maria Helena Walsh, with
Horacio Ferrer (a score of songs)... I did a whole work on the
poetry of Borges with his collaboration and its support, it even came
to accompany me with television, it made foolish things for somebody
who did not like the music like him, because he was not music lover of
the whole. Normally, I like to work a long time with the authors
to find the language clean. "trotted It of Corto Malese", it is
a song of Daniel Salzano recorded on CD "Balacera". It was
crowned by the daily newspaper Clarin price of the best pop disc of
the year. I sing it all the time, I love the adventurous
character. The song tells that at the time of a visit of Corto
Maltese in Buenos Aires where it met the Queen of Malevaje, they
danced, and it left. With the end of the song, it awaits a child
of him without it not saying to him.
See CD of Jairo proposed on this site in our catalogue -
authors....
|
