Ricardo Grünewald:" Lo que más influencia la noche son los bailarines"

Hoy encontramos otro gran TangoDJ Ricardo Grünewald, argentino que vive en Berlín. Una conversación muy interesante por la historia y la evolución del gusto en Europa. Como dice Ricardo "Bien me encanta todo el tango, desde sus comienzos hasta la actualidad, cuando se trata de bailar soy un fanático de la llamada época de oro con centro en los años 40. Y eso se nota cuando musicalizo. Creo que aproximadamente el 80% de la música que pongo es de esa época, matizado con un poquito de música de los 30 y algunas tandas de los años 50. Y en esto soy bastante constante, desde mis comienzos hasta el día de hoy. Por supuesto que como todos yo también tengo etapas en las que me fascina más una orquesta que otra, pero después de algunos años vuelvo a redescubrir a aquellos intérpretes que tenía algo olvidados". 

Una entrevista que no debe perderse, y buena lectura ... hasta la próxima

Qué le llevó a dar el salto en la consola? Una decisión consciente o fue el resultado de la casualidad?

Hay dos tipos de tangueros: los que descubren el tango a travez del baile, y los que llegan al baile porque les fascina la música. Yo pertenezco sin dudas al segundo grupo. Cuando empecé a bailar en 1993 ya llevaba años oyendo y coleccionando tango. El paso de la pista a la consola era en mi caso algo predecible. Creo que empecé casi simultaneamente a bailar y a poner música.

Cuáles eran gustos del publico cuando vos empezaste a poner música?

Yo empecé a musicalizar en Alemania y no en mi ciudad natal, Buenos Aires. No sé si sería igual en todas partes, pero acá en la Europa de comienzos de los 90’ a los bailarines les encantaba Pugliese, sin ninguna duda!

Existen diferencias significativas en la escena actual?

Totalmente. Hoy en día no solo son muy pocos los DJ’s que ponen Pugliese, sinó que hay una extraña predilección por Canaro que da miedo. No es que no me guste Canaro, pero toda exageración es mala.

Te acuerdas de tu primera noche en la consola?

No exactamente. Creo que fué en el “Kultor 5” en la ciudad de Colonia, Alemania, pero no estoy seguro.

Cuando usted construye la noche? Mucho tiempo antes de poner música, durante el viaje a la milonga, o momento a momento repentino?

Siempre de momento a momento. Nunca preparo nada.

Le sucede que a veces se aburre y le gustaría terminar antes del tiempo preestablecido?

Creo que eso nos pasa algunas veces a todos, sobre todo cuando se tuvo un día muy agitado o cuando los bailarines no responden a la música como uno espera, pero por suerte hace ya bastante tiempo que no me sucede.

Cómo definirías tu estilo? Ha evolucionado con el tiempo? Y en qué dirección?

Si bien me encanta todo el tango, desde sus comienzos hasta la actualidad, cuando se trata de bailar soy un fanático de la llamada época de oro con centro en los años 40. Y eso se nota cuando musicalizo. Creo que aproximadamente el 80% de la música que pongo es de esa época, matizado con un poquito de música de los 30 y algunas tandas de los años 50. Y en esto soy bastante constante, desde mis comienzos hasta el día de hoy. Por supuesto que como todos yo también tengo etapas en las que me fascina más una orquesta que otra, pero después de algunos años vuelvo a redescubrir a aquellos intérpretes que tenía algo olvidados.

Qué puede influir en una noche, el público, los bailarines, la acústica del lugar, la duración de su desempeño ...?

Todos esos factores influyen, además del estado anímico del momento, que es otro factor fundamental y que no podemos olvidar, pero creo que lo que más influencia la noche son los bailarines. Me encanta observar la pista mientras trabajo y cuando logro establecer una conección con los bailarines es cuando quedo más conforme con los resultados. Me ha pasado de tener que poner música para gente a quién pareciera que les dá lo mismo si les ponés tango o la quinta sinfonía de Beethoven y en esos casos sufro terriblemente. Esas son las noches que no me salen bien. Si noto que a los bailarines no les gusta la música que elijo, puedo tratar de cambiar la linea y está todo bien, pero lo que realmente me mata es la indiferencia.

Por lo general prefieren trabajar solos o con otro?

Aunque me encantaría musicalizar una milonga de a dos, todavía nunca tuve la ocasión de hacerlo.

Le gusta bailar y escuchar la música seleccionada da sus colegas?

Me gusta bailar y siempre que bailo hay algún colega seleccionando la música. Es claro que hay colegas que me gustan mas que otros.

La gente Te pregunta títulos de tangos?

Antes lo hacían mucho. Desde que desarrollé un programa que muestra automáticamente en una pantalla el título, el año, la orquesta y los cantantes del título que está saliendo al aire, ya nadie me pregunta más nada ;-)

Cree que la manera de poner musica es diferente para las áreas geográficas? Argentina, Europa del Norte, Europa, el Mediterráneo ... o todo el mundo es el mismo país?

La diferencia es más que evidente. La música que está de moda y que le gusta a la gente en Buenos Aires es casi siempre muy distinta a la que se escucha al mismo tiempo en Europa. Dentro de Europa creo que las diferencias no dependen tanto del país, sinó mas bien del tipo de público y de la clase de evento. La música que se oye en las maratones es bastante distinta a la de los festivales o a la de las milongas locales.

Las clásicas preguntas a quemarropa, prohibido no responder:

Tres orquestas que no pueden faltar en una noche.

D’Arienzo, Di Sarli, Tanturi

Sus tres orquestas preferidas, las cuales también pueden ser diferentes de los anteriores.

D’Arienzo, Pugliese, Troilo

Sugeri una tanda de tango instrumental, una tanda de tango con cantante, una de vals y una de milonga

Instrumentales de Tanturi:

1. El buey solo

2. Comparsa criolla

3. Una noche de Garufa

4. Argañaraz

D'Arienzo - Echagüe:

1. Pensalo bien

2. Trago amargo

3. Dos guitas

4. Mandria

Valses:

1. Amor cobarde (Orquesta Típica Victor)

2. Ecos del alma (Antonio Bonavena)

3. Como pichón enamorado (Manuel Buzon)

Milongas de D'Arienzo:

1. La cicatriz

2. La espuela

3. Oro de ley

Cuáles son las tres orquestas y cantantes que no soportas?

Enrique Rodriguez, Alfredo De Angelis (excepto sus tangos con Laroca, que me encantan), Osvaldo Fresedo (tambien con excepciones)

Cual es la orquesta más infravalorada por el público en general y que es la más sobrevalorada?

La más sobrevalorada es para mí la de Francisco Canaro. Entre la más subvaluadas se podrían contar las de Alfredo Gobi, Lucio Demare o Manuel Buzón.

Estamos a menos serio: el dj tienes un gran encanto sul publico, tienes energía sexy? O es mas sexy el bailarin del tango?

No se puede generalizar. Para muchos el DJ tiene un encanto muy particular, mientras que para otros casi no existe, es un empleado más como el muchacho detrás de la barra o la señora que limpia los baños.

Jörg Haubner:" TJing is not only what you play but at which time, combination and order"

Today our travel lands in Germany, Dresden, and we meet Jörg Haubner, another great TangoDJ. A deep knowledge of tango repertoire, every song is chosen with meticulous care. Experimentation and new paths, this is the track that led Jörg to be a TangoDJ. As he said "I started to DJ when I danced around 4 years. I mostly got bored constantly listening to the same sad Tangos , but I realized there is much more what DJs didn't or seldom played. I simply liked to show there is another way". Enjoy.

From the beginning: I suppose that your first approach with tango, like for other DJs, was with the dance. What inspired you to get into console and play music? A conscious decision or was the result of chance? I started to DJ when I danced for about 4 years. I mostly got bored constantly listening to the same sad Tangos, but I realized there is much more what DJs didn't or seldom played. I simply liked to show there is another way.

What was your early taste of tango?

Honestly, at the very beginning I liked most Electro-Tango followed by funny Foxtrots, Rodriguez, Donato, Biagi...

The difficulty of the search for songs on CD often burned has been replaced by? the explosion of the Web and the consequent relatively easy way of finding?the music. Do you think this paradigm shift has changed the DJ ́s way of working?

Often DJ's who played from CDs were arguing that computer-DJs being endangered to constantly play the same order or complete playlists. Imho the opposite is the case. CD-DJs are limited with the tracks on one or max 2 CD's or they have a lot effort to change which robs a lot of attention from the audience and from preparation of the next tanda. At home I work a lot on my tracks. This means if necessary, I change dynamic, equalize, de-click, remove hum, correct phase-shift, adjust the lengths of silent parts on start and end.

When do you build your performance? Long ago, during the journey to the milonga, or suddenly spontaneously? moment by moment? It's a mix of them. I use different preparation lists on which I work on permanently:

1.) Tango-Tandas 2) Vals-Tandas 3) Milonga-Tandas 4) Cortinas) 5) "I- necessarily-need-to-play-Tandas. From this playlists I choose the music for the current playlist moment by moment. These prepared tandas mostly include more tracks than needed. In the moment I make my selection, I exclude surplus tracks. Which ones, is depended on the event and level (Milonga/Festival/Marathon)

Have you ever played in a boring night?

Yes this happened!

Have you (understood) realized too late that perhaps the milonga could not give you the right motivation and you could not wait to finish? Would this have been helpful? I don't like open-end-events! People are going home when they are very tired, not when the mood is on the highest level. It's a bit annoying to see those people go. Better is a fixed end where you can add some extra-Tandas if the party is still going on.

Do you accept whatever you are offered or do you try to make a selection preferring location and fascinating evenings with friends? There was no selection needed until now. First come, first safe.

How would you define your style?

I play music from end of 20's to the 50's. I would say I'm courageous to play an above average amount of less played but still easy to dance stuff. If I like a song, I directly go to the DJ and ask him what it is.

It has evolved over time?

I hope so ;)

And in which direction?

Years ago I didn't like late 40's, I never played 50's or later but played a lot Guardia Nueva songs. I still play those, but not so much anymore depending on the daytime, crowd...

What can you influence ? in an evening, the audience, the dancers, the acoustics of the location, the duration of your performance ... If the acoustic is horrible, which still happens quite often of course I try to equalize the room. Sometimes you cannot change conditions. For example people speak to loud because the loudspeaker are installed at the wrong place...If this is the case of course I will tell the organizer. If he doesn't change I will not DJ there anymore. In the meantime I need to play more familiar music because the dancer is able to supplement the missing parts of music from his own memory. Of course the dancers will influence my choice. If the floor is packed I would play more rhythmic and faster music, not music that calls to bigger ground covering movements. If the level is low I wouldn't play complex but easier structured music.

Do you prefer playing alone or sharing the night with a colleague. Generally prefer to work alone, or with friends who you feeling? Or, you love the thrill of experimenting with a colleague never listened to? until then?

I would say at a Milonga I prefer to play without any colleague. On Festivals you do not have so much time to play anyway because of the shows and live music. On Marathons I would prefer to be surrounded by DJs who play a 

completely different style compared to mine. That's very interesting to see how the audience react.

If someone asks you the name of a track, do you tell him, perhaps suggesting on which CD it is included, or invite him to venture into the trouble of searching? I will tell the name of the track and artist because TJing is not only what you play but at which time, combination and order. I wouldn't say "trouble". It's a bit like Christmas and Easter at the same time if you discover some new.

You get bothered with absurd requests: what do you do? Are you a jukebox? Organizers who invite me knows about my style. Ok a DJ should be able to adjust but imho not too much because then he isn't authentic anymore and this wouldn't help anyone.

Recently a woman came up, asking if I could play a Di Sarli Tanda. I told her that I already played 2 Tango-Tandas and 1 Vals-Tanda of him during the night. So maybe one of the other guests who doesn't like Di Sarli is waiting for another orchestra which I wasn't able to yet. One asked me to play more instrumental Tangos and more Milonga-Tandas. I played less sung Tangos but I would not change my Tanda-system during the event which is 4T-4T-4V-4T-4T-3M-4T-4T ... and so on. Dancers can trust in this. Ok at the end of a night I play slower Milongas or no more... For the Piazzolla-request I found some very nice tracks from the years 1946 to 1947 ;))

Do you like to dance and listen to your colleagues?

Yes there are some whose choice I really enjoy! Afterwards I'm annoyed with myself for havin

g danced so much instead of studying the choice, order, flow...

Do you believe that the art of “musicalizador” is different for geographic areas? Argentina, USA, Northern Europe, Eastern Europe, the Mediterranean ... or is it similar in all countries? The differences are bigger in the character of events than between geographic areas. But I would say in the north they are more humble, quiet, tender and sensitive, in the South more assertive, extroverted and energetic. Not in general but in average.

Would you like to have a milonga just for you, furnish it with the appropriate facility to your desires, try to create a wave that satisfies you over to play when you want and create a calendar of events to measure your tastes?

I already have such a Milonga but I prefer to travel for TJing

What are your requests to the organizers?

To get best results/success of your event there are some necessary work conditions:

I need a good overview to see and feel the floor, so the DJ-desk should be positioned higher than the heads of dancers. Perfect is a bar-chair on a higher table, situated on a pedestal. It should not be behind but in front of the loudspeakers to be able to adjust the sound of every single track or at least a monitor loudspeaker to hear the same music as the audience to adjust the sound. A place nearest by the dance-floor, technician, Maestros (Festival- Show) is very helpful and easy to arrange but the technician needs to know in front of the event.

The classic point-blank questions you have to answer, you cannot refuse: Three orchestras that can not miss in one evening.

D'Arienzo, Fresedo, Canaro

Your three favourite orchestras, which may also be different from the previous ones.

Troilo, De Caro, Laurenz

Suggest a tanda of tango instrumental,

Juan D'Arienzo Don Pacífico 1939-09-27 Felicia 1939-09-01 Entre dos fuegos 1940-04-12 La bicoca 1940-08-08

a tanda of tango singer,

Troilo - Floreal Ruiz: Mis amigos de ayer 23.01.46 Confesión 29.04.47 Y dicen que no te quiero 04.07.47 Y la perdi 07.10.47

one of vals

O.T.V.: Novia mia!... 07.01.38 Sin rumbo fijo 18.04.38 Anita 12.12.39 Temo 10.05.40

and milonga.

D'Agostino:

Entre Copa Y Copa 23.04.42 En lo de Laura 12.03.43 Señores, yo soy del centro 20.03.45

What are the three bands or singers you cannot stand?

Goyeneche Florindo Sassone Villasboas Quarteto Firpo

What is the band most underrated by the general public

Orquesta Firpo Gobbi Domingo Federico

And which is the most overrated?

Pugliese (great but not the only one for this kind of music. Why not Gobbi, De Caro or Francini-Pontier, when dramatic/dynamic/bombastic music is asked for?

Your top three nights (in your opinion of course ...)

I do not like to upset anyone, but I can say it was on marathons. My personal taste seems to fit best this kind of events.

We are less serious: Last night a dj saved my life. The DJ role? is sexy? have you ever had a relationship with some fans and

Who knows!? My Job as a DJ takes the most time and effort in my life so it's clearly a part of me.

some flirt with your colleagues?

No, but it would be very practical ;)

Stereolab, transizione verso la classicitá

Ci siamo lasciati alle spalle gli anni'80 e finalmente si può affrontare con il piglio della sterilizzazione,diversi universi musicali, dai Velvet al rock politicizzato dei seventies, dalle avanguardie musicali alle ingenuita'del pop più commerciale. 

La sintesi architettonica di questa idea può essere esemplificata ne Transient Random Noise Bursts with announcements degli Stereolab. Un lavoro eccellente specialmente in brani quali Jenny Ondioline e Our Trinitone Blast che inaugurano sonorità davvero nuove per quegli anni. 

Quando ho ascoltato per la prima volta questo album sono rimasto spiazzato , meglio dire sorpreso dalla imprevedibilità di questo gruppo che ho ascoltato fin dagli esordi. Un cocktail davvero geniale che mi ricorda alcune intuizioni dell'easy listening e dell'FM più maturo.Un tour de force sperimentale , ma non cerebrale che forse ci fa rimpiangere quello che questa band avrebbe potuto rappresentare per il rock e che invece a causa anche della prematura scomparsa di un suo membro rimase un episodio isolato. 

Il resto , purtroppo per chi credeva molto negli Stereolab come me, solo manierismo e noia.

Un capolavoro per tutti, dai Depeche Mode, Music for the Masses

Quanto ho amato questo lp, certo continuo a pensare ad alcuni dischi in termini di lp, perché all'epoca , primi anni '90 avevo davvero una sterminata collezione di vinile. Music for the masses é l'album cui sono più affezionato dei grandissimi ed inimitabili Depeche Mode, un gruppo seminale per il rock non solo inglese che ai primi anni'80 ha convogliato le tensioni dell'ultima fase punk con l'intellettualismo new wave e dark, cui va aggiunto il glaciale suono della musica industrial di trenta anni fa. 

L'inizio é davvero sfolgorante con un pezzo del calibro di Never Let me Down Again, canzone sulla dipendenza ed abuso di droghe pesanti, per seguire con le atmosfere estatiche di The things you Said, ma l'autentico break é dato da Strangelove, una bomba che a distanza di tanti anni mi incendia e devasta ancora la mente con quel suo attacco incredibile. Un brano davvero unico degno di stare nell'Olimpo dei brani dei Depeche Mode, ma anche del rock adulto britannico degli anni '80 al pari degli Smiths e degli U2. Dave Gahan e Martin Gore sono nella loro fase più creativa, un idillio spaziale che tocca tutte le corde dell'animo umano, dal gotico al crepuscolare. Meravigliosi architetti del synth-pop. 

A chi dice senza riflettere della mediocrità di quegli anni (gli eighties) consiglio di andare di corsa ad acquistare o riascoltare questo album. Ed a recuperare magari sul web i meravigliosi videoclip diretti da Anton Corbjin.

Jens-Ingo Brodesser:"I like to think of colours and shapes like when you paint a picture. You start at a certain point and let the whole thing evolve. Maybe you tell a story, maybe you are abstract but the most important is that you express something through the music you play

Today we meet another great Tango DJ, Jens-Ingo Brodesser. Jens is greek-german currently living in Brussels where studied visual arts. You can find info about his tango ideas in his blog http://tango-dj.be/. Talking with Jens, that often play music getting it form  vinyl or 78 rpm records, is a great experience. At the heart of his poetry this deep reflection: " In my opinion it is very important to provide a variation in musical  style between the tandas and to develop a tanda flow for having an enjoyable milonga. I try to catch the mood of the moment by observing the dancers and translate this feedback into the tanda. Variation and  changing impulses are the keywords. I like to think of colours and shapes like when you paint a picture. You start at a certain point and let the whole thing evolve. Maybe you tell a story, maybe you are abstract but the most important is that you express something through the music you play". So right. Enjoy.

 From the beginning : I suppose that your first approach with tango, like for other dj, was with the dance. What inspired you to get into console and play music? A conscious decision or was the result of chance?

I think it's a long journey to discover tango music. It might have been started when I received my first CDs from Buenos Aires. Or even earlier, in the late seventies when I was listening to Astor Piazzolla on my father's car radio. Or even much earlier, when I heard the Grimm Brothers' fairy tales with their great Festivals and Balls. I believe that I was always unconsciously searching for a music like tango which connects you to a partner in dance but I believed it wouldn't exist anymore. Then one day a couple of friends came to my house set down a ghettoblaster in my salon and started dancing tango to these never heard tunes, even older than what I recalled from the radio show. I was shocked. That jarred to my mind and unchained emotions as if with a violent unexpected blow. From that moment on I had to learn to move to this music! And I wanted to listen to all of it ... I'm still working on it, there are yet so many pieces I have never heard. It's such a rich genre with so many recordings, musicians and myths to discover. In the meantime I learned dancing and I dug deeper into the genre. Once again in my salon I decided to start djing. Maybe it had been time to share my  love with this music.

What were your early taste of tango? There are significant differences with the current scene?

There are some of my early tandas which I still play today. But you know how it works, you start out with a lot of intentions but you don't have the skills and the experience. So I had to learn from dj-set to dj-set what kind of emotions the different tangos set free in the dancers. I think i'm still in this process because every situation is different. What changed is that in the beginning I was thinking very much in terms of tandas. I was happy to get a tanda working guided by a playlist. Now I'm more concerned about the tanda flow and how to articulate the 

milonga. Another thing I learned is observing the dancers and to pick up 

feedback. In the beginning I had more the impression that the music controlled me, this happens less now and sometimes I can even feel that I'm holding the "body" of the milonga. These are very nice moments of intensive joy, everything is flowing and you fusion with the dancers into one.

Do you remember your first like tango dj?

I tried hard, but my first dj-set must have been a little rollercoaster trip for the dancers judged from my current point of view [laughing]

The difficulty of the search for songs on cd often burned, the explosion of the Web and the consequent relatively easy to find in the music. Do you think this paradigm shift has changed the way of working of the DJ?

Yes, I think there is a shift towards very authentic sounding music. 

Both CD and MP3 downloads have deceived with overly cleaned tracks which sound like sent through a metal tube, with poor dynamics, distortions or changed pitch. I can see that more and more of my colleagues are very much focused on finding the best possible sounding version of a tango. They rather like to have some surface noise than a cleaned to death recording. This seems to be a sensitive issue. It's true that the Internet helps a lot. I often use it to get vinyl or 78 rpm records or to order CDs from Argentina, Japan, Uruguay, Europe, etc. Also, there are now more and more high resolution downloads and the available information about tango via the Internet is just amazing!

When you build your performance? Long ago, during the journey to the milonga, or sudden moment by moment?

I play always differently and I don't rely on playlists which could be reused for the next gig. Personally I would find it a little boring to be exposed to always the same order. This being said, playlists don't only exist on the computer, they also burn themselves into your head. So there are certainly some combinations I like very much but I try to keep it open for recombination. On my computer I organise the music into crates to have the bands and the singers at hand, much like when I play vinyls. Just to have a general order. When I travel to a set I think about what kind of context I'm playing at: Festival, marathon, encuentro or local milonga? Is there an orchestra playing, will there be a show? Etc. I also try to figure out what kind of dancers will attend the event. Therefore I believe improvisation is probably the most flexible approach for me.

Have you ever played in a boring night? Have you you understand too late that perhaps the milonga could not give you the right motivation and you could not wait to finish? Do you accept whatever you offer or try to make a selection preferring location and fascinating evening with friends?

If I'm called to play at a milonga I try always to give my best, to play the best music and to set a good frame for the dancers to evolve. It's none of my business to evaluate the quality of an event. Once I'm on it, I support it a 200%! If the event is less frequented, it's certainly more challenging to play to the empty house because you get lesser feedback from the people. But in the end it's a job and you have to do it well. The set bookings are a matter of availability, I think I process them on a first come first served basis. Once I played at a boring festival whereas all of my friends have been at an exciting marathon somewhere in Italy. These are the downsides, you have to go through it and respect your engagements. Sometimes events which appear to be boring reveal as really great unexpected experiences. So don't count your chickens before they are hatched! [laughs]

How would you define your style? It has evolved over time? And in which direction? What can influence you in an evening, the audience, the dancers, the acoustics of the location, the duration of your performance ...

In my opinion it is very important to provide a variation in musical style between the tandas and to develop a tanda flow for having an enjoyable milonga. I try to catch the mood of the moment by observing the dancers and translate this feedback into the tanda. Variation and changing impulses are the keywords. I like to think of colours and shapes like when you paint a picture. You start at a certain point and let the whole thing evolve. Maybe you tell a story, maybe you are abstract but the most important is that you express something through the music you play. At some places like El Corte in Nijmegen you must even play with the lights during the set, besides the factors you already mentioned, this is very important too and often neglected at the milongas.If you understand by style to be a thematic DJ serving only certain styles of dancing, I don't think that this would apply to me. Nevertheless if I know the context I'm able to adapt to any set and 

dancing preference. But I prefer the events where dancers of different styles and origins intermingle.

Do you prefer playing alone or sharing the night with a / colleague. 

Generally prefer to work alone, or with friends who you feeling? Or, you love the thrill of experimenting with a colleague ever heard until then?

I have never tried a dj duo. I'm open to it.

If someone asks you the name of a track you say it to him, perhaps suggesting where the CD is included, or invite him to venture into the trouble of searching?

Yes, I always share this information if people ask. The music doesn't belong to me, it belongs to all of us!

The public bother you with absurd requests: what do you do? Are you a jukebox?

Sometimes I try to talk to some key people before my dj-set and I ask them what they like very much for the moment. Later when the moment is right I play these tracks. This is a very nice connecting point to the dancers. If people suggest tracks or orchestras to play during the set I also would play them if they fit in the context. It's not always possible and sometimes the requesters give the impression of being at the wrong place, especially if they ask for hard core fusion tango in a purely traditional milonga. [laughing]

Do you like to dance and listen to your colleagues enjoy the selections and styles of others from your performances?

Yes of course, I love to dance to other DJ's selections. It's also an occasion to learn something new, to be surprised and inspired.

Do you believe that the art of “musicalizador” is different for 

geographic areas? Argentina, USA, Northern Europe, Eastern Europe, the Mediterranean ... or is it similar in every countries?

I think it's different within each person. When you look at the DJs who are around right now you can see that everybody has a very unique and personal style. No two sound alike. The cultural context can certainly also have an influence but when I regard the people I'm more interested in the individual. From experience, less gifted “musicalizadores” can be found anywhere.

Would you like to have a milonga just for you, furnish it with the 

appropriate facility to your desires, try to create a wave that 

satisfies you over to play when you want and create a calendar of events to measure your tastes?

I'm co-organising a monthly milonga and once every year a marathon in 

Brussels. I think that's enough because it leaves enough time for traveling and djing all around ;-)

The classic point-blank questions you have to answer, you cannot refuse:

Three orchestras that can not miss in one evening.

These four I'm playing nearly always several times during a milonga:

Juan D'Arienzo, Carlos Di Sarli, Aníbal Troilo and Francisco Canaro

Your three favourite orchestras, which may also be different from the previous ones.

It's a difficult question but for the moment I'm very interested to 

listen to these orchestras: Miguel Caló, Osvaldo Fresedo and Francisco 

Lomuto. Attention, it might have changed by next week!

Suggest a tanda of tango instrumental, a tanda of tango singer, one of vals and milonga.

Ok, here are some tandas I played already sometimes, the last milonga 

tanda is a new idea.

Tango instrumental: Juan D'Arienzo (1963-72)

El choclo (1963)

El irresistible (1963)

Felicia (1963)

Mi dolor (1972) with Osvaldo Ramos

(The last tango breaks the instrumental order but it's the same Guardia 

Vieja theme)

Tango with singer:  Enrique Rodríguez with Armando Moreno (1944-45)

Este es tu tango

Dicen que así soy yo

Tú, el cielo y tú

Y así nacio este tango

Vals: Francisco Lomuto

Un vals

Bajo un cielo de estrellas

Idolatria

Milonga:

Milonga clásica (Canaro)

El viento me cuenta cosas (Quinteto Pirincho)

Arrabalera (Quinteto Pirincho)

What are the three bands or singers you can not stand?

I love them all and it changed over time. It's best to give each band and singer one dislikes at a certain stage a second chance. With time, taste and understanding can change. Sometimes I'm shocked that we have a tendency to define our styles by banishing some orchestras. Often you can see that this kind of ignorance is directly related to our inability to understand and dance to this particular music. This is sad. There is not one tango but tangos! And I'm very happy about this. But there are, of course, bands or musicians I personally have problems with too. Often I recognize that I don't know enough about them or that I was listening to the wrong tracks ...

What is the band most underrated by the general public and which is the most overrated?

Underrated maybe the late Francisco Canaro, for me this band has a very jazzy character and produced some great tangos even after 1942. 

Overrated I don't know ...

Your top three nights (in your opinion of course …)

I liked every night! And as you would say, the best is still to come

We are less serious: Last night a dj saved my life. The DJ rule is sexy? have you ever had a relationship with some fans and some flirt with your colleagues?

Sabino, what a question! I'm exclusively in love with tango! [laughing a 

lot]

Natalia Fures: Soy una Dj que le regala una tanda a cada personalidad. Me gusta variar y contrastar tandas eufóricas con tandas super románticas. Lo divertido con lo nostálgico del tango

Continuamos  nuestro viaje por el mundo para descubrir los grandes tangoDJ.  Hoy nos encontramos Natalia Fures, una joven y talentosa dj  que hace inolvidables las noches donde toca. Una energía explosiva que inflama grandes milongas  como MILONGA10, El Yeite, VillaMalcolm y La Viruta. Y como dice Natalia : “Soy una Dj que le regala una tanda a cada personalidad. Me gusta variar y contrastar tandas eufóricas con tandas super románticas. Lo divertido con lo nostálgico del tango”.  Para los tangueros de todo el mundo, los secretos de Natalia Fures.

 

Para empezar. Supongo que como todo lo que su primer acercamiento fue con la pista. ¿Qué le llevó a dar el salto en la consola? Una decisión consciente o fue el resultado de la casualidad?

Me interesé en empezar a pasar música en un momento en el cual mi amor por el tango estaba creciendo a pasos agigantados. Conocí a un amigo que era Dj, y preparaba sus tandas, y me hablaba de orquestas, y me picó la curiosidad. Cuando llegué a casa dije "cómo podría musicalizar una milonga?" y empecé a ordenar la música que tenía, que me había pasado un amigo muy fanático, y las horas se me pasaban armando tandas bailables. Me sentaba con la compu y de repente habían pasado 5 horas sin darme cuenta! Después le comenté a un amigo que había empezado a incursionar como musicalizadora, y él me invitó a su milonga. Así empecé.

Cuáles eran gustos del publico cuando vos empezaste a poner música?

Empecé a poner música hace 3 años. Y de esa fecha a la actualidad creo que los gustos no variaron demasiado. Lo que si veo es que hay tandas que se ponen de moda. Cuando yo empecé, la gente enloquecía con Varela y "fueron 3 años"... y ahora ya no. Los mismo pasa con algunos clásicos que suenan más seguido por épocas. Los clásicos de D'Arienzo Echagüe super rítimicos ya no suenan tanto como antes.

Existen diferencias significativas en la escena actual?

En este último tiempo empecé a escuchar más tandas de D'Arienzo con Laborde, Reynal y Valdez, cosa que antes no sucedía. También ya no escucho tanto las tandas de Pugliese con Chanel, que hace 2 años siempre estaban presentes.

Te acuerdas de tu primera noche en la consola?

Claro! Fué hace tres años, en la milonga de un amigo en La Plata (mi ciudad natal). Yo estaba muy nerviosa, las manos me temblaban y recuerdo que en un momento temblaba tanto que le puse "pausa" a un tema en el medio de la tanda. Me sentí muy mal, pero por suerte estaba rodeada de amigos que sólo me miraron y después me sonrieron.

Cuando usted construye la noche? Mucho tiempo antes de poner música, durante el viaje a la milonga, o momento a momento repentino?

Depende el día. Hay veces que me gusta programar algo para una noche especial. Y tiene que ver con el lugar, el evento y la gente con la que sé que me voy a encontrar. Pero por lo general tengo una idea de las tandas y voy analizando el moomento adecuado para que esa tanda aparezca, y eso me lo da el momento.

Le sucede que a veces se aburre y le gustaría terminar antes del tiempo preestablecido?

No, aburrirme no. Lo que me pasa es que a veces me frustro cuando paso música en alguna milonga que me doy cuenta que la gente no conoce nada de lo que estoy pasando. Pero cuando sucede eso, pienso en pasar las tandas que mas me gustan y las disfruto conmigo.

Cómo definirías tu estilo? Ha evolucionado con el tiempo? Y en qué dirección? ¿Qué puede influir en una noche, el público, los bailarines, la acústica del lugar, la duración de su desempeño ...

Cuando empecé, era muy "rockera". Me gustaba pasar muchos tangos rítmicos. Pero con el tiempo me fui enamorando cada vez más de las tandas melódicas. Ahora creo que soy una Dj que le regala una tanda a cada personalidad. Me gusta variar y contrastar tandas eufóricas con tandas super románticas. Lo divertido con lo nostálgico del tango.

En mi caso, influye muchísimo el público. Yo armo muchas tandas pensando en lo que le gusta bailar a mis compañeros bailarines. Y obviamente, pensando en lo que yo también quiero bailar. Soy un poco egoísta a veces, jajaja.

Por lo general prefieren trabajar solos o con otro? Te encanta la emoción de experimentar con un colega ha oído hablar hasta entonces?

Nunca experimenté musicalizar con otro colega. No sé qué se siente. Puede llegar a ser interesante.

Le gusta bailar y escuchar la música seleccionada da sus colegas ?

Claro. Yo aprendo muchísimo escuchando otros Djs. Cuando hay algo que no conozco siempre me acerco a preguntar, y tomo nota. Me gusta ver las personalidades de cada Dj, qué inclinación tiene y compararlo con mi forma de pasar música.

La gente Te pregunta títulos de tangos?

Depende del lugar en donde paso música. En Buenos Aires siempre alguno se acerca a preguntar el título y la orquesta. Y eso me encanta, porque me doy cuenta que hay alguien que está prestándome atención aparte de bailar y bailar.

En Europa me sucede que me encuentro con los dos extremos: o paso musica y nadie entiende nada ni se interesa, o me encuentro con un coleccionista que me llena de preguntas detallistas y podemos quedarnos horas hablando de música!

Cree que la manera de poner musica es diferente para las áreas geográficas? Argentina, Europa del Norte, Europa, el Mediterráneo ... o todo el mundo es el mismo país?

Es muy diferente. En Europa pasan tangos que en Buenos Aires nunca pasaríamos. Pasan muchos foxtrot de Enrique Rodriguez, y aca eso no existe! O pasan mucho tango fusión, electrónico, o arman tandas de cualquier género y las bailan como tango. También noté que pasan mucha guardia vieja. Pero eso tiene que ver con que muchos no entienden las letras... y se guían solo por las melodías y el ritmo.

Las clásicas preguntas a quemarropa, prohibido no responder:Tres orquestas que no pueden faltar en una noche.

D'Arienzo, Di Sarli, Caló. .

Sus tres orquestas preferidas, las cuales también pueden ser diferentes de los anteriores.

D'Arienzo, Demare, Di Sarli.

Sugeri una tanda de tango instrumental, una tanda de tango con cantante, una de vals y una de milonga.

Instrumental: Pugliese.

1. Recuerdo 2. Mala Estampa 3. Flor de Tango 4. Patético

Tango cantado: D'Arienzo con Maure

1. Claudinette 2. Lilian 3. Judas 4. Nunca más

Vals: D'Arienzo - Echagüe

1. Castigo 2. Recuerdos de la pampa 3. Cabeza de Novia

Milonga: Edgardo Donato

1. De punta a punta 2. La milonga que faltaba 3. El Lengue

Cuáles son las tres orquestas y cantantes que no soportas?

Florindo Sassone.

Color Tango.

Jorge Maciel.

Qual es la orquesta más infravalorada por el público en general y que es la más sobrevalorada?

Creo que la gente no valora mucho a Tanturi. Y tiene unas cosas hermosas. Me encantan los instrumentales rabiosos y las tandas con Enrique Campos. Tanturi lleva el "barrio" y el "barro" en la sangre. Es muy tanguero desde lo profundo.

La orquesta más sobrevalorada siempre fue, es y será: Pugliese.

Estamos a menos serio: el dj tienes un gran encanto sul publico, tienes energía sexy? Te fascina tu colegas ?

Como mujer pienso que puede llegar a generar cierta atracción. Los hombres no estan tan acostumbrados a escuchar chicas pasando música. Y cuando te ven se quedan sorprendidos.

Arriba las Djs femeninas! Somos sexys y tenemos una sensibilidad especial que se distingue a la hora de musicalizar una milonga! ;) yeah