Member Since: 4/20/2008
Band Website: quitogato.com
Band Members:
Influences: Juan Pardal, Atahualpa Yupanqui, Eduardo Falú, Jaime Torres, Cheo Hurtado, Eduardo Lagos, Chany Inchausti, Roberto Goyeneche, Julio Sosa, AnÃbal Troilo, Horacio Salgán, Egberto Gismonti, Hermeto Pascoal, Naná Vasconcelos, Milton Nascimento, Joe Pass, Pat Metheny, Paco de LucÃa, Vicente Amigo, Gerardo Nuñez, Narciso Yepes, David Russell, Hopkinson Smith, Miguel Angel Girollet, Victor Villadangos, Luis Alberto Spinetta, Ralph Towner, Larry Carlton, Lee Ritenour, Jaco Pastorius, Joe Zawinul, Bill Evans, Oscar Peterson, Lyle Mays, Ketih Jarret, James Taylor, Joni Mitchell, The Beatles
Sounds Like: The guitar began to flourish in the emancipated Latin American countries in two very different ways: As a ploughman’s constant companion to his fast-growing popular repertoire and as a classical instrument to be highly acclaimed by every celebrated Concert Hall. In Argentina, from humble cottages to aristocratic music halls, all welcomed the guitar, notwithstanding the very different social destinations. In this style the guitar arrived at Buenos Aires Port. Uncertain rumours about a splendid Spanish 18th Century instrument called “Vihuela†had reached the early Buenos Aires streets, but, although this instrument was guitar-shaped, it totally differed in its intonation, repertoire and playing techniques. It is difficult to say how many different instruments had made their way into Argentina from Spain in three long centuries, but as it turned out to be, words started playing tricks on names and the Argentine “Gaucho†miscalled the guitar “Vigüelaâ€, and later B.A. locals gave it the name of “Violaâ€, name which still remains popular in artistic circles, although it really has nothing in common with the bow-played Renaissance instrument. In the early days of Tango, when this style was not so popular yet in the Rio de la Plata surroundings, the guitar was the connecting instrument to the different forms of music that emerged: Habanera, Candombe, Tango Andaluz, Zarzuela music and typical Rondallas, all styles that combine numerous guitars and bandurrias (a type of spanish folk lute). Consequently, the guitar was also included in the very first Tango Instrumental Formations, as well as the violin and flute. Carlos Gardel, the great Tango icon, is best remembered in our cultural patrimony in his “gaucho†attire and a guitar in his arms. The first instrumental Tango ensembles were trios: flute, violin and harp, and sometimes an accordion or mandolin would be added. Then the guitar started replacing the harp as a rhythmic base instrument changing the trio to flute, violin and guitar, remaining unchanged until the bandoneón was introduced in the early 1900s. After some other changes and combinations the guitar fell out of favour, being then replaced by the piano, in the same way that the bandoneón replaced the flute. This new trio, piano, violin and bandoneón, was the beginning of the typical Tango Orchestra, conformed by two bandoneones, two violins, piano and double-bass. However, the guitar went on being used in some groups as a rhythmic base instrument. Many Tango singers had their own guitar players, such as Carlos Gardel, Ignacio Corsini, Oscar Ferrari, Tito Reyes, Nelly Omar and Edmundo Rivero, among others. This led to the creation of guitar ensembles, in orchestra style, where each guitarist had his own part, either carrying the melody or as an accompaniment. Consequently, the guitar Solo in Tango has gained notoriety throughout the years, thanks to innumerable musicians, creating a much respected and recognized language of its own, with full possibilities of development.
Record Label: Viajero
Type of Label: Indie