Home » Gustavo Santaolalla returns to “Ronroco” with his relaunch and world tour – Diario RÃo Negro

Gustavo Santaolalla returns to “Ronroco” with his relaunch and world tour – Diario RÃo Negro

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Gustavo Santaolalla returns to “Ronroco” with his relaunch and world tour – Diario RÃo Negro

The musician, composer and producer Gustavo Santaolalla gives the latest details on the relaunch and global live performance of his influential album “Ronroco” more than a quarter of a century after its release, as if to celebrate that the Andean instrument that starred and gave its name to the album “I was able to put it on the music map,” as he highlights.

“No one knew about the ronroco and today, 25 years later, on the one hand, on YouTube you find tutorials on how to play it and, on the other, I was able to open it, have it acquire another dimension and become an instrument. for orchestras”, emphasizes Santaolalla during an interview with Télam.

From the American city of Los Angeles where he settled in 1978 and built a notable activity as a producer and creator of music for films and series in a task that earned him two Oscar awards, the 72-year-old artist ponders the legacy of the charanguist Jaime Torres (1938-2018) who encouraged him to decide to record “Ronroco”.

The musician who was the founder of the groups Arco Iris and Soluna reveals that after having produced “Amauta” (1995), a monumental work on the work of Torres that enabled a relationship that became a friendship, he was encouraged to show the renowned interpret what he did with his snore.

“Jaime encouraged me to publish the music that I had been making with the ronroco for 13 years and that did not have traces of Andean music but rather sounded from Eastern Europe, or Africa or Japan. He told me – remember – “there are no rules for playing the ronroco but you found the spirit of the instrument and you have to make that known.”

With that blessed impulse as a trigger, the path of “Ronroco” surpassed even the good omens of Torres and had an impact on the cinema since one of its pieces, “Iguazú”, was used in 1999 by the American Michael Mann for the film “The Dilemma†.

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Santaolalla and a movie snore

Also from that album, Mexican director Alejandro González Iñarritu chose “Atacama” for “Amores Perros” (2000) at the beginning of a creative bond that extended to “21 Grams.” € and that in 2006 earned the Argentine a second Oscar for the music composed for “Babel”, just a year after winning his first statuette for the melodies destined for “Brokeback”. a†.

This conjunction of arts also owed another title of “Ronroco†such as “De Ushuaia to La Quiaca†to be part of the soundtrack of “Motorcycle Diaries†(2004), by Brazilian Walter Salles.
But, in addition, the artist, 72 years old, continued to string together audiovisual collaborations that show his most recent work in the second season of the series “The Last of Us.”

Télam accessed reflections generated by this 25th anniversary of the album such as those of the filmmaker González Iñárritu who maintains that “Ronroco†“evokes bucolic images and feelings for me. There is always a note that surprises, breaking the pattern of the storm, becoming silence, a soft drizzle or escalating until it becomes a tempest.â€

“Everything I do is always designed in some way to take it to Argentina and ‘Ronroco’ of course will not be the exception.”

Gustavo Santaolalla.

His colleague Salles, meanwhile, risks that the plaque “transports us to unknown territory, it also offers us a deep sense of belonging. Thanks to him, the perception of belonging to a place, South America, was ingrained in me. However, by extending the borders of Latinity, its universal character makes this sense of identity more complex and multifaceted.â€

While the composer Nicholas Britell (author of soundtracks such as those of the series “Succession” and the film “A Tale of Love and Darkness”) states: “Gustavo’s sound is truly unique, an extraordinary mix between intimate and the epic, the real and the mythical†.

Santaolalla and Latin American rock

In parallel with these works for screens, Santaolalla positioned himself as a guiding force of Latin American rock by serving as producer of León Gieco, Julieta Venegas, Molotov, Divididos, Café Tacvba, Bersuit Vergarabat, Maldita Vecindad, La Vela Puerca, Juanes , Control Machete and Ely Guerra, to name just a part of the extensive list.

Because of these audiovisual tasks and for musical production, the artist who in 2001 formed the Rio de la Plata electronic tango band Bajofondo, was never able to play “Ronroco” live, a debt that he will begin to pay off next September with a world tour. .

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The cover of “Ronroco” in its original version from 1998.

“For now I am going to start in Dubai, but there are already confirmed dates in Utrecht, Porto, Madrid, Helsinki and Istanbul and more will be added,†he reviews enthusiastically about an adventure in which he will have colleagues and compatriots with whom he usually works: Javier Casalla, Barbarita Palacios, Nicolás Rainone and Juan Luqui, among more.

And although Argentina is not yet on that agenda, Santaoalla assures: “Everything I do is always designed in some way to take it to Argentina and ‘Ronroco’ of course will not be the exception.” The musician’s reunion with the third and most decisive solo album of the four published so far will include other condiments.

“Around this anniversary – he says – there are many things: For now the release of the album on a 180 gram vinyl, the release of two ronrocos (one with steel strings and the other with nylon strings) with my name and those that I participated in the design but that the luthier Julio Malarino made and also a line of strings for those instruments.

The merchandising around “Ronroco†will also add a perfume made by FueguÃa 1833 “because smell is one of the primary senses that I have always been interested in exploring,†Gustavo warns, and finally adds: “ “Together with Adolfo Santos I am developing an instrument called guitarroco, which is an invention of mine and is a mix between electric guitar and ronroco.”

Q: Does going out to play “Ronroco” live for the first time give you a lot of adrenaline?
Gustavo Santaolalla:
Adrenaline would not be the case because what this music and this instrument have is a very deep connection with other levels of consciousness and although it is now a very bastardized word, I am convinced that it is a music that has a very spiritual component. To give some examples linked to my music, I would say that a Bajofondo concert is a very playful and very expressive thing, physically, while Desandando el Camino’s (where he reviews his history) is a much more introspective thing, but â €œRonroco†has something almost therapeutic that is something I have never done and I think it is a wonderful experience.

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Q: How do you feel that a bet of this type will impact the current music scene?
GS:
I don’t know and I don’t care, although I perceive that today innovation is more about a technological issue than about invention and that is why we are experiencing a stage that for me is one of transition.

Q: Are you concerned about the role of artificial intelligence in this field?
GS:
I believe that artificial intelligence or natural stupidity has always existed. When before, for example, a hit appeared, 20 identical or very similar things immediately appeared. It is very likely that artificial intelligence can reproduce things but it does not seem to me that it is capable of generating novelties or matching our level of emotion. It’s something similar to using samplers, which are very nice and comfortable, but when you have to make music for a film, there’s nothing like an orchestra and nothing replaces the 60 guys who lift the bow; It is clear that it is not the same and that is why the orchestras continue to exist although it would be cheaper to use other devices. In short, I still believe very much in the power of transformation that music has.

Sergio Arboleya/Télam Agency


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