.

Gustavo & Facundo Bergalli



Nació en Argentina en 1940

A la edad de doce años inició
sus primeras lecciones
de trompeta y ya de adolescente
quedó fascinado con la maestría
de Luis Armstrong .


Bergalli, con los años, escogerá un rumbo muy personal en el jazz latinoamericano, a partir de las impresiones perdurables que dejaron, en él, trompetistas del nivel de Dizzy Gillespie, Roy Eldridge y, de manera muy particular, Clifford Brown.

En sus comienzos Gustavo Bergalli participó en conjuntos tales como el de Gato Barbieri, Michel Legrand, (cuando él residió en nuestro país) y en dos de los grupos, de mayor renombre en el contexto jazzístico latinoamericano : el Quinteplus y el Buenos Aires Jazz Quartet.

En 1975, Gustavo Bergalli se marchó a Estocolmo, Suecia, en donde se transformó en uno de los trompetistas más estimados y más reputados en Escandinavia.

Durante un período, de casi tres décadas, asentado en Estocolmo , condujo su propio quinteto, tocando, preferentemente, con la gran Banda de Jazz de la Radio Nacional de Suecia y con la orquesta del jazz de Estocolmo; al mismo tiempo que acompañó a muchas celebridades, tales como, Bob Brookmeyer, Bob Mintzer, Jim McNeely, Joe Lovano, Phil Woods, Jimmy Heath, Maria Schneider and John Scofield.

En estas misma época, Bergalli hizo presentaciones regulares en Europa con un número variado de bandas, entre las que se destaca el Klaus Ignatzek Quintet.

Sus grabaciones más prominentes, incluyen cuatro, en el papel de conductor, y una decena de otras como solista con figuras tan destacadas como, Paquito D'Rivera y Carlos Francetti.

En 1992 recibió una beca de la fundación norteamericana de Laila y Charles Gavatin para la música del jazz.

A finales del año 2005 Gustavo Bergalli se trasladó a Buenos Aires para emprender tareas pedagógicas en Argentina, en la enseñanza de la trompeta a nuevas generaciones .

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El disco Tango in Jazz fue grabado en Estocolmo y se editó en septiembre de 1997.
Además de Gustavo Bergalli en trompeta y su hijo Facundo en guitarra, participaron del mismo: Gustavo Paglia en bandoneón, Christian Spering en bajo y Magnus Gran en batería.

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Towards the end of the nineteenth century two very significant forms of "folk music" began to take form and emerge, both on the same continent but separated geographically and socially.

One was the tango music of Argentina and the other was jazz music of the United States.

Both began in environments associated with the poor working classes and in back-street bars and houses of "ill-repute", and at first both were shunned by society, to be later not only accepted, but loved by millions the world over.

The history of the music called tango has been written down with the pulse of its great composers and the intensity of its beautiful themes, which have appeared parallel and synchronized with those in the music of jazz. Nevertheless their forms are different and to find the common points was not an easy task.

In Buenos Aires, Facundo became fully occupied searching for tango "clasicos" (the equivalent of "standards"), which contained similarities with the concept of jazz tunes, and he began working on them with the object of preserving as much as possible of their originality.

Magnus Gran and Christian Spering were members of Gustavo Bergalli's Swedish quintet which hade made tours three times in South America, sponsored by the Swedish Institute and the Swedish National Council for Cultural Affairs.

Most of their time was spent in Buenos Aires, where they experienced the genuine "porteno" feeling of this great city with its port atmosphere.

Of course they were able to listen to a lot of tango music, and its seductive effect remained with them long after they had returned to their native country. They are both great jazz musicians and were natural choices for this project.

With the participation of Gustavo Paglia, we have in his bandoneon artistry the presence of one of the classic instruments of tango. Gustavo, with his special touch, warmth and "tangero" (a deep and genuine feeling for tango music), has just those personal qualities ideally suited for collaborating on this record.

The tunes played by the quartet are performed with a jazz-orientated conception, while in the duos and trio the "tangero" influence is much more in evidence illuminating the fusion between the two music forms. The ballads were played with the same concept as the quartet, but with the extra presence of the bandoneon.

The record begins with the quartet playing "La Casita de mis viejos" ("the little house of my old parents").

We decided to place it at the beginning of the CD as a consequence of the energetic power, which we achieved. The theme is played quite freely at the beginning, and this is followed by some classic up-tempo jazz improvisation.

Quite unlike "El Ultimo Cafe" ("the last coffee"), which is interpreted in a delicate manner and allows us to leave the rhythmic and melodic intensity of the previous tune.

In the third and fourth pieces the duos make their appearance which gives another atmosphere to the record. "Malena" with acoustic guitar (or, as the Argentineans call it, "Creole" guitar) and bandoneon is played without being tied strictly to the rhythm, and with much improvisation.

Almost with the same conception, but with more of a rhythmic nature,"Volver"("to return") introduces the duo of trumpet and bandoneon.

"Nada" ("nothing") is a tune, which receives a fresh interpretation by the quartet, and with this placing in the program it, makes a connecting link between the duos and the rest of the music.

The next, "Grisel", is played as a jazz ballad with a mood of great melancholy, in which the quintet makes its entry, offering a new combination of sounds on the record.

We go back to the quartet formation with "Nunco Tuvo Novio" ("never had a boyfriend"), a melody beginning with the bass and culminating with the trumpet. With its more energetic concept it creates a dynamic contrast, and we go over then to another tango played as a ballad.

"Los Mareados" ("the intoxicated people") expresses also great melancholy and a profound sadness. This is the last tune interpreted by five musicians.

We return with a lot of energy to the penultimate theme on the record "Naranjo en flor" ("the orange tree in blossom") which provides an atmosphere of great agility as much for the listeners as for the musicians.

And so we come to the end with "Soledad" ("solitude"), the only tune played by a trio. The acoustic "Creole" guitar reappears, together with the sound of the trumpet and bandoneon. Although a tempo is maintained during the trumpet solo, the remainder is interpreted more freely, a freedom associated with the music of jazz, and a suitable way to come to the end of this tangero journey.

Gustavo and Facundo Bergalli


http://www.touchemusic.se/007-linernotes.html


Temas

01 - La Casita De Mis Viejos.mp3


02 - El Ultimo Cafe.mp3


03 - Malena.mp3


04 - Volver.mp3


05 - Nada.mp3


06 - Grisel.mp3


07 - Nunca Tuvo Novio.mp3


08 - Los Mareados.mp3


09 - Naranjo En Flor.mp3


10 - Soledad.mp3

Link


http://rapidshare.com/files/43930129/RBerdi_G_F.Bergalli-TangoInJazz-97.rar

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