Gus Gus ...dall'Islanda al Mexico

Un album entusiasmante che dalla lontana Islanda ci rovescia addosso del coinvolgente electrop di classe. Se spesso sentiamo in questo genere gruppi che arrancano a corto di idee, i Gus Gus riescono a riproporre gli stilemi classici personalizzandoli in una visione a cavallo del nuovo millennio. Vero, molto mestiere, ma ci vuole per raggiungere un effetto sperato. This is not the first time è un pezzo liquido ed allo stesso tempo ipnotico, mentre Airwaves è la gemma di questo album, dove aleggia il fantasma nobile dei Depeche Mode. Ormai le migliori produzioni in fatto di elettronica vengono dal nord europa, dal freddo che scalda ed infiamma i cuori. Poco cerebrali e tutta energia , Gus Gus , go for Mexico.

P.S. Crossfade da non perdere

Joy Division forever

Ha senso un ennesimo libro sui Joy Division? La risposta è sì, se l’autore è il mitico Peter Hook già bassista dela leggendaria band di Manchester e poi degli altrettanto leggendari New Order, oltre a creare l’epopea negli anni ’90 dell’Hacienda, mitico club della Madchester che fu. Aneddoti, storie scritte da chi li ha vissute di prima mano, pettegolezzi sussurati. Da leggere e rileggere per cercare di capire e rivivere virtualmente quegli anni unici per la storia del rock e del costume in Europa e non solo. Joy Division, vi amerò per sempre...

Sebastiano Canto: " I improvise freely during the evening..."

New Great TangoDJ Interview. This time meet Sebastiano Canto. Let's discover his secrets. Happy Reading!!!

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 it the result of chance? 

First of all, Sabino I’d like to thank you for doing this. Work like yours makes the work of us DJs easier and even more widely accepted by dancers and especially also by organizers.

First, you have to know that I come from a family where my father’s half of the family is making classical music as a profession. So I was in immediate contact with (classical) music all the time and was familiar with many kinds of music from very early childhood on and also could perceive music. The first real encounter I had at a friend’s house In Berlin at an improvised dinner with tango people. It was in the early nineties and Tango-Berlin was very much influenced by Tango Salon and Pugliese and Piazzolla, because evidently in the Milongas at that time not much else was played. So we were listening to this strange music during dinner that made no sense in that particular moment – I hated it.

My contact with Tango music in beginner’s times was more that of coping with combining body, ear, partner and movements.

After a very intense Tango weekend in Naples about 7 years after I started dancing I had a revelation – the music is actually played for the dancers! There is an energy arch in the DJs logic! Dancers listen intently and the DJs “feel” the floor!
Coming from Hamburg originally I was only used to Milongas where Tangos were playing loosely arranged without any structural or musical logic – an indefinite mix of styles ranging from non-Tango to 20ies/30ies jewels, without Cortinas, Tandas or anything remotely similar.

So at some point I decided I would want to share my experience of Naples with other people. But it took me two years listening and collecting before going into the open.

What was your early taste of tango? Are there significant differences with your current taste? 

After a very intense Neo-Electro-Tango period in my beginner’s years I think I discovered Biagi first. He “rocked” I found and was different from most other Orchestras I had in my collection. My favorite Tango at that time was “Quiero Verte Una Vez Mas”. I still love the strings giving each other an echo.
The other orchestra I loved was Francisco Canaro, especially his ‘35/’34 versions of “Hotel Victoria” and “Charamusca”.
I would say my current taste is very much connected to my mood of the night, personally I love many of the unplayed Tangos from the 20ies (Canaro) and I love Donato and Malerba, Laurenz and Fresedo.

Do you remember your first engagement as a tango dj?

Oh yes!!! I was booked through the girl I started dancing with and her good friend – soul and jazz singer – who organized events in the Hamburg Casino. They thought it would be a grand idea to organize a half public Milonga in there, because she had heard me creating Tandas at home and I had been making music at open air clandestine Milongas and Flash mobs I had organized, but this was different. It was my baptism ;-) and I was so nervous. 

When do you prepare or construct your set? A long time before the gig, on the day of the Milonga, or do you improvise freely during the evening? 

I improvise freely during the evening, but I also have a “ playlist” that I call singles. It consists in single Tangos, Milongas, and Valses that I discover while working on my Tango music database. Once I am DJing I listen back into them and if they fit, I create a Tanda around these “singles.

Have you ever played a boring set? Did you maybe understand too late that the Milonga could not give you the right motivation and you could not wait to finish? 

First of all to answer “no” to this question would be very narcissistic and I would want the dancers to judge. I had several events that started very slow and I find it hard to choose the right music when I can’t perceive the energy.
But altogether I always find a way into the Milonga… sometimes it takes longer, sometimes I’m in instantly.

Do you accept whatever gig is offered to you or do you try to select engagements, preferring a special location or fascinating evening with friends? How would you define your style? Has it evolved over time? Into which direction? What can influence you during an evening, the audience, the dancers, the acoustics of the location, the duration of the Milonga...

No, I do not accept every gig anymore… but mostly because some of the organizers are not able to pay travelling expenses plus Cachet plus accommodation. I think of my DJing of a service to the dancers, so why should I refuse to make people dance. At the same time the tango scene talks and a DJ needs to DJ in renowned events to get known and be booked more often. Most of all I like to DJ at events where there probably will be a good onda to start with and where the dancers actually LISTEN to the music.
My style? Mhm… I don’t think I have a style. My making music for dancers has evolved in relation to my knowledge of the Orchestras etc. I believe firmly that Tango is about the dance – apparently a banality – and I am the one providing the music to it. That’s really all there is to it. Personally I am a very romantic type – musically of course ;-) – and while I love Tango music in total I love the Tangos of Canaro/Maida, Fresedo/Ray, Garcia/Rojas, OTV/Carol…
But I will play what I feel is needed. What influences me in Milongas/Marathons are the following factors: time of day, day of the event, number of days of the event, crowdedness of the dance floor, level of dancing, acoustics of course, my energy, the number of smiles, most importantly the perceived energy of the dancers and where the ride is supposed to go 

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

Right now I have done a DJ-duo twice with Simone Arcidiacono of Siracusa/Brema(D) and one time it was very nice and one time it was ok.
Right now I like to work alone but I would always be open to try working with colleagues and I believe if the chemistry is right, it sometimes could be an advantage to play together. And yes, I found it very much fun and thrilling to DJ together, regardless of the quality :-D

If someone asks you the name of a track, do you give him the requested information, perhaps mentioning the CD where he can find it, or do you refuse and thus force him to engage into an adventure of search and find? 

I always give out any information to people who ask. Tango is a common good!

The audience bothers you with absurd requests: what do you do? Are you a jukebox? 

Requests are difficult in general… I would even deny a request from an organizer if playing it could risk the onda. I do not like to fulfill requests and absurd ones I deny courteously but firmly.

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

Yes I do, and every time I learn a lot!!

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 country? 

Yes I do – if you want to call it an art. I can only judge Italy, Switzerland and Germany… But in these three areas the musicality and the skills of the dancers are very different. In Italy for example you hear a far wider range of different Tangos and all together I’d say more it’s more musical whereas in Germany (Hamburg for example; maybe except Berlin) you hear the same over and over everywhere. It’s a question of knowledge, experience, education, travelling, and courage how a DJ plays music and if stay in place or one scene all the time you don’t vary.

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? 

Who wouldn’t? And yes! I would love to have it. But I would have to live in a different place with many interested and open-minded dancers – like Berlin for example or in Italy ;-) .

Three orchestras that cannot miss in one evening.

Well funny question for me… lately I catch myself realizing that I have had nights where I just left out Biagi, or Canaro, etc. Everything is possible if you make it right. But I think di Sarli, d’Arienzo, Troilo, Canaro, Biagi are probably to name.

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

It varies… but at the moment I am back to… I’d say: Canaro, di Sarli, Biagi

Suggest a tanda of tango instrumental, a tanda of tango singer, one of vals and milonga. Tanda instrumental: Tanda with a singer: Vals: Milonga: 

Instrumental
Tango: R. Biagi, A la gran muneca (1950), La viruta (1948), Racing Club (1950), El Recodo (1952)
Vals: d’Arienzo, Alma dolorida (1937),  Amor y celos (1936), Corazon de artista (1936)
Milonga: F. Canaro, Milonga de Antao (1937), La Milonga de mis Tiempos (1938), Reliquias Portenas (1938)

Vocal
Tango: Fresedo/Ruiz, Y no puede ser (1939), Inquietud (1939), En este Rincon amigo (1941), Vida querida (1940)
Vals: M.Caló, Bajo un cielo de estrellas (Podestà) (1941), Flor de Lino (Iriarte) (1946), Pedacito de cielo (Podestá) (1942)
Milonga: P. Laurenz, Mariana (Podestá) 1942, Milonga de mis Amores (instr.) 1944, Maldonado (Podestá) (1943)

What are the three bands or singers you cannot stand?

I cannot think of any specific one… I am not too fond of d’Agostino…

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

Underrated: Julio de Caro, overrated: Anibal Troilo

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

Wondertango, Naples, Italy 2014, Sunday Milonga afternoon
Milonga de las Flores, Bern, Switzerland 2013, Saturday night
Pentecoste Weekend, Mattstedt, Germany 2014, Sunday night

We are less serious: Last night a DJ saved my life. Are DJs sexy? Have you ever had a relationship with a fan or a flirt with a colleague?

Yes, but so far only on the dance floor, unfortunately 

Yves-Pierre Senn: I change the selections all the time according to the mood, to who is on the floor.

We continue our journey to discover the secrets of the great TangoDJ. This time heading to Geneva with Pierre Yves Senn, TangoDJ and Président 

Association OpenMilonga. Good reading.

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 it the result of chance?  

With my partner, we were organizing a weekly open-air milonga in Geneva, and there were no available DJ whose music was inspiring to us. Actually at the time DJ's in my town were playing without cortinas ... so I decided to study, find information, and DJ myself.

What was your early taste of tango? Are there significant differences with your current taste? 

 My early taste was more oriented towards slower tangos, and especially instrumental ones. Only for the last 3 or 4 years can I really relate to the singer, and even then not every singer. My favorites are Podesta, Maciel, and Rufino

Do you remember your first engagement as a tango dj?

No ... I can't

When do you prepare or construct your set? A long time before the gig, on the day of the milonga, or do you improvise freely during the evening?  I have one tanda ready for the beginning of the evening, for example some nice soft Lomuto or Carabelli, and then I improvise from there, on the fly. I don't even have pre-selected tandas, I change the selections all the time according to the mood, to who is on the floor. 

Have you ever played a boring set? Did you maybe understand too late that the milonga could not give you the right motivation and you could not wait to finish? 

Not really; even in difficult circumstances I take it as a challenge, and try to find a solution. Sometimes it can mean go back to some super-well-known tangos, sometimes, it can mean to make a transition (for example play some foxtrots, most people will love them, or Biagi valses) and restart again. If I feel that I made a mistake (generally I can sense it immediately), i change immediately inside the tanda, sometimes even with another orchestra. 

Do you accept whatever gig is offered to you or do you try to select engagements, preferring a special location or fascinating evening with friends? 

I like to accept any kind of gig, open-air, beginner's milonga, high-level marathon milonga, flashmob, unauthorized airport milonga; I love challenges and enjoy them.

How would you define your style? Has it evolved over time? Into which direction? What can influence you during an evening, the audience, the dancers, the acoustics of the location, the duration of the Milonga...

 I like to define my style as passionate/intense/energetic, in dance as in DJing. 

 It hasn't evolved much, perhaps only it has refined itself with time.

 During an evening, I try to take my whole environment into account, including all the parameters you mentioned, but also, are there many women sitting and not dancing (in this case I will play simpler music, and in tandas of 3, especially in the beginning of the evening). But still I maintain the curve of the evening and be conscious of the way the energy develops during the evening. 

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

In really enjoy co-djing, I like the challenge, the friendship, the sharing. But I also like to play alone, if the evening is high-level and I want to really concentrate hard on the dancers and the floor.

If someone asks you the name of a track, do you give him the requested information, perhaps mentioning the CD where he can find it, or do you refuse and thus force him to engage into an adventure of search and find? 

I will always share the info; after my events I often publish my playlists on my website. 

The audience bothers you with absurd requests: what do you do? Are you a jukebox? 

It depends how absurd. If they ask me for Piazzolla or Gardel, most of the time I will say no with a smile. But if it makes sense, and fits into the evening, I can play exotic music, but only after announcing it to the dancers of course. 

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

Oh yes, there are many DJ's who I admire and enjoy immensely, for example Theresa Faus (DE), Bärbel Rücker (DK), Hiba Faisal(FR), Antti Suniala(FI), Sarah Finci(CH), Rachele Lepera(IT), and many others, too many to mention. Generally I prefer women DJ's, I cannot say why.

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 country? 

I believe it's different from country to country, even sometimes from city to city, from venue to venue ... from season to season ! But the goal remains everywhere the same : to make the dancers feel like dancing ... and to make sure they are enjoying their evening. 

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 have done it several times, have created several regular, and one-time events, and am organizing some new ones, including a nice "Festivalito"-kind event this summer : http://www.tangomillepattes.ch  

Three orchestras that can not miss in one evening.

Di Sarli, Biagi, D'Arienzo

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

Di Sarli, Firpo Orquesta (not cuarteto), J Garcia

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

Tanda instrumental: 

Tango | Orq.Tipica Victor/Instr : 5ta Edicion (1937) (2:45)

Tango | Orq.Tipica Victor/Instr : Clavel del aire (1937) (2:33)

Tango | Orq.Tipica Victor/Instr : Tu Vida Es Mi Vida (1937) (2:42)

Tanda with a singer: 

Tango | C Di Sarli/R Rufino : Cosas Olvidadas (1940) (2:19)

Tango | C Di Sarli/R Rufino : En Un Beso La Vida (1940) (2:23)

Tango | C Di Sarli/R Rufino : Lo Pasado Paso (1940) (2:24)

Vals: 

Vals | Orq.Tipica Los Provincianos C Ortiz-C Lafuente/:Sueno Imaginado (1932) (2:43)

Vals | Orq.Tipica Los Provincianos C Ortiz-C Lafuente/:Lagrimas Y Flores (1931) (2:32)

Vals | Orq.Tipica Los Provincianos C Ortiz-C Lafuente/:Un Placer (1933) (2:32)

Milonga:  (mixed tanda):

Milonga | E Donato/Instr : Papas Calientes (1937) (2:25)

Milonga | F Canaro/Instr : Milonga De Mis Amores (1937) (2:58)

Milonga | Orq.Tipica Victor/M Balcarce : Milonga De Los Fortines (1937) (2:54)

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

De Angelis (except for a dozen tracks, some valses)

Late Fresedo

Fervor de Buenos Aires

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

Underrated: many less-known excellent orchestras from the 30's, like Petrucelli, Di Cicco Minotto, José Lucchesi

Overrated : I would say De Angelis is generally much overrated, except for some pieces from the late 40's. To me it sounds like artificial, circus-like music.

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

An Open-air night, there was a thunderstorm and I played a strong Pugliese tanda just at the right moment ... incredible.

At a nice marathon in France, after the end of the afternoon milonga I announced some experimental music, everybody stayed and I played  Rossini,  Schubert, Genesis, and Ennio Morricone. Big applause ! 

I had invited Murat and Michelle Erdemsel to teach, The big Saturday night milonga, with a splendid demo by this magnificent couple. I was inspired and built a beautiful evening around their Di Sarli demo. Lots of applause at the end. 

We are less serious: Last night a DJ saved my life. Are DJs sexy? Have you ever had a relationship with a fan or a flirt with a colleague?

No; I believe the DJ should not be sexy. He or she should be doing his or her job, and not mix with flirting or chatting with a group of admirers. For this reason, in my international events, the DJ is placed in the middle of the floor. 

The picture is copyright Michael Eggen Photography

Big Abrazo 

-- 

Yves-Pierre Senn

Président

Association OpenMilonga

Genève

Norwegian power: Todd Terje

Non è una novità. Alcune delle novità elettroniche più interessanti vengono dal Nord Europa. In musica questa affermazione vale ormai da alcuni anni. E non posso che confermarlo con lo splendido “It’s album time” del genio norvegese Todd Terje.  

Un disco davvero straordinario che coniuga estetiche anni 80 con futuribili sonorità contemporanee, il tutto con una sottile ironia che garantisce a questo album un ascolto anche al di fuori dei dancefloor. Sembra in alcune tracce quasi una musica da cocktail o lounge di classe con reminiscenze alla Daft Punk ultima maniera, Delorean Dynamite su tutti. E poi una straordinaria rilettura degli eighties con Johnny and Mary, addirittura alla voce il mitico Bryan Ferry. 

Un dandy dell’elettronica che si diverte e fa divertire che confeziona a distanza di un anno quasi una risposta al Get Lucky del 2013. Manca forse il tormentone ma il progetto organico è davvero di gran classe. Potrebbe diventare la colonna sonora dell’estate 2014… della mia di sicuro.

Claudia Petit:I try to propose different atmospheres during the night, not to play the same mood for a long time

New Great Tango DJ Interview. Today we meet, Claudia Petit. 

Happy reading.

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?

Both of them : with my friends Judith and Nicolas, we started a weekly new milonga (Les 9 Billards) and we decided that all three will play the music on it. 

What was your early taste of tango? There are significant differences with the current scene? My first class of dance technique... very big difference with today.

Do you remember your first engagement as a tango dj? Not the first one....

When do you prepare or construct your Set? A long time before the gig, on the day of the milonga, or do you improvise freely during the evening? I improvise freely during the evening, but sometimes I can prepare something just to play a track that obsesses me in the moment or a new track that I never played.

Have you ever played a boring set? Did you maybe understand too late that the milonga could not give you the right motivation and you could not wait to finish? Regrettably yes. But I always have pleasure to listen tango music, so I finish the night with my CDs by trying to work a little for my personal  luggage around djing.

Do you accept whatever gig is o!ered to you or do you try to select engagements, preferring a special location or fascinating evening with friends? At the beginning, all engagements were perfect to me. At the moment, as I have too much work with  teaching tango, I prefers to go to a milonga to dance and to listen the good music of my colleagues. So, I select the engagements at the moment. 

How would you define your style? Generally, people say that I play an energetic music... 

Has it evolved over time? Into which direction? I hope that it has evolved over time. I try to propose different atmospheres during the night, not to play the same mood for a long time, either feel like jumping from one thing to another...I try to build something which looks like a story that you tell during a few hours.  

What can influence you during an evening, the audience, the dancers, the acoustics of the location, the duration of the Milonga...All these points can influence me.

Do you prefer playing alone or sharing the night with a / colleague. Do you 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 prefer playing alone, but sometimes it is nice to share the night with another DJ. The thrill... no, just playing music and I'm happy when it gives some pleasure for who is listening or dancing it.

If someone asks you the name of a track, do you give him the requested information, perhaps mentioning the CD where he can find it, or do you refuse and thus force him to engage into an adventure of search and find? 

I give him the requested information.

The audience bothers you with absurd requests: what do you do? Are you a jukebox? No, I'm not a jukebox ! I really not accept this kind of requests.

 Do you like to dance and listen to your colleagues enjoy the selections and styles of others from your performances?Of course !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 that the art of "musicalizar" is rather a personal business, a personal taste. So in the same country do you have a lot of DJs with their characteristics each one.But we always have the orchestras or singers or tracks which are "in" at one moment and so, every DJ plays it... sometimes it can be a little too homogeneous.

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? Even if you have, organize a milonga, there are a lot of points which will make this milonga not only YOUR milonga... it must be for the dancers who come to dance, I mean, you can't do a milonga just for your satisfaction.... even a successful milonga is the one where everybody find his pleasure. 

Three orchestras that can not miss in one evening.D'ArienzoDi SarliPugliese

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

At this moment : D'Arienzo, Di Sarli, Laurenz

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

Tanda instrumental:Di Sarli (40s) : Siete palabras, El pollo Rcardo, El pollito, La racha

Tanda with a singer: Canaro con Maida : Ojos negros que fascinan, Cadena de amor, Callecita de mi novia, Desaliento

Vals:Tipica Victor : Temo, Samaritana, Sin rumbo

Milonga: D'Arienzo : Milonga del recuerdo, La cicatriz, Milonga del 83

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

I dont know very well Firpo... but except for some tracks with singers,  I'm not a fan of Firpo's intrumentals ; either Salgan (even if I really like some tracks of Quinteto Real)

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

Underrated : Gobbi instrumentals; Troilo instrumentals from the 50s (renowned difficult)

Overrated : Fresedo

Your top three nights (in your opinion of course ...) one special night at the 9 billerds in Parisone spécial afternoon at The "Comptoir Général" in Parisone crowded night at one tango festival in Turin, Italy

We are less serious: Last night a dj saved my life. Are DJs sexy? have you ever had a relationship with a fan or a flirt with a colleague?Yes, some DJs are sexy... no, I never had it.

Jens Dorr: Always happy when people want to know more about tango music.

Ready for another great tango DJ Interview? Here, for you the secrets of Jens Dorr. Have a good reading.

From the beginning : I suppose that your first approach with tango, like for other dj, was with the dance. 

I started listening to tango by the time I played the tenor sax, playing tunes of Astor Piazzolla some 25 years ago. It was only about ten years later that I started to dance.

What inspired you to get into console and play music? A conscious decision or was the result of chance? 

Chance. I was invited to dj every night during two weeks of tango holidays in Greece. I didn't have anything better to do, so I went. It was so much fun, that I kept on doing it.

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

In the beginning I had around 500 pieces on my computer. 

Some traditional tangos, some non-tangos and, what I liked most, some modern Troilos from the 60s and 70s(!) ... and the people loved it.

After a while of developing my dance and listening more carefully I didn't like the non-tangos anymore. Today traditional tango music is appreciated much more than in those early days. By the way, I still like listening to the late Troilos...but not on the dancefloor.

Do you remember your first engagement as a tango dj?

Yes, see above.

When do you prepare or construct your Set? A long time before the gig, on the day of the milonga, or do you improvise freely during the evening? 

I like to prepare a folder of some pieces I'd like to play that evening. How I put them together, I decide during the set.

Have you ever played a boring set? Did you maybe understand too late that the milonga could not give you the right motivation and you could not wait to finish? 

First: Yes of course this happened in the past. 

Second: Yes of course I played at milongas where I had the feeling that people were not listening to the music and that can be tiring.

Do you accept whatever gig is offered to you or do you try to select engagements, preferring a special location or fascinating evening with friends? 

At the beginning I took everything to gain experience. Today it is more a question of time because of my tango school/milonga

How would you define your style? Has it evolved over time? Into which direction? What can influence you during an evening, the audience, the dancers, the acoustics of the location, the duration of the Milonga...

Of course I became more and more familiar with the music I have. Nowadays I can more easily react to the needs of the crowd. But that does not mean that I am always right... Everything around has an effect on me and on my music. 

Do you prefer playing alone or sharing the night with a / colleague. Do you 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 prefer to play on my own. But there are some colleagues with whom I could imagine sharing the dj set.

If someone asks you the name of a track, do you give him the requested information, perhaps mentioning the CD where he can find it, or do you refuse and thus force him to engage into an adventure of search and find? 

I am rather generous with this kind of information. Always happy when people want to know more about tango music.

The audience bothers you with absurd requests: what do you do? Are you a jukebox? 

If I don't want to play it then I don't play it.

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

I don't know if I understand the question.. Of course I like to dance on other djs sets. Otherwise I could not dance at all.

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 is more a question of the type of event. Is it a local regular milonga, is it a festival with live music or a marathon. I play a different set at each of them.

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 it... and I love it!!

Three orchestras that can not miss in one evening.

Juan d'Arienzo, Rodolfo Biagi, Francisco Canaro

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

Anibal Troilo, Ricardo Tanturi with Enrique Campos, Pedro Laurenz

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

Tanda instrumental:

d'Arienzo 

-Yunta Brava

-El marne

-Por que razon

-Maipo

Tanda with a singer: 

Tango:

Tanturi/Campos

-Que sera de ti

-Y siempre igual

-Oigo tu voz

-El sueno del pibe

Vals:

Laurenz

-Caseron de tejas

-Mascarita

-Flores del alma

Milonga: 

Donato

Sacale punta

Ella es asi

De punta a punta

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

Heino, Kastelruther Spatzen... just joking, back to Tango: Nearly every orchestra has something to offer: I think it is always a question of when and how much of it.

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

To be honest... I don't like that kind of discussion.

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

I liked all those nights where I had the feeling that I am with the dancers and they are with me.

We are less serious: Last night a dj saved my life. Are DJs sexy? Have you ever had a relationship with a fan or a flirt with a colleague? 

A gentleman never tells.