This is Raul Barboza “European Trio”. We’ve been actively performing in France and abroad for the past decade, but we never recorded in the studio as a trio before (Raul and I did an album alone as a duo, Ruta 40, Norberto recorded with Raul on some of Barboza’s albums from the late 1990’s and Norberto and I have collaborated on each other’s records for a long time, most notably on Norberto Pedreira Trio).
After some shows in France a couple of years ago, we decided to go to the studio and informally perform our usual set-list, just for fun and to have a recorded souvenir of our more “free” improvised takes on some of Barboza’s standard “chamamés”.
I went back to those shelved sessions this year in order to choose the best takes and mix down the 4-track masters for a listening session with Raul and Norberto.
The relaxed, informal, warm (albeit rough at times), sensitive and fun feel, pleased us. So we decided to release it “as is”.
The cover art is a photo graciously proposed to us by American photographer Paul Hosefros (NY Times).
In 2016 I created a “catalogue” of my instruments and sonic possibilities as a multi-instrumentalist. For that purpose I recorded several short snippets with each and every instrument I own and play, performed solo or accompanied by other instruments, but one instrument at the time clearly in the spotlight.
The full set is available for streaming in a dedicated Soundcloud playlist here:
I took pictures of the actual instruments when possible (there’ll be a couple of snapshots using my favorite samples, the rest is actual instruments I own).
The instruments I used are:
Acoustic Upright Piano (Yamaha)
Tenor Ukulele & Concert Ukulele
Fretless Bass Guitar (my custom 1988 Sekine)
Acoustic Bass Guitar (1990’s Larrivée & Kelly Dragonfly 5 strings)
Melodicas: Hohner Piano 36 and Yamaha Pianica
Spacedrum (C minor “Deep Sky” tunning)
Electric Bass Schecter 62 Jazz Bass & Drake Diaz Custom5
Electric Bass : nylon strings (my Epiphone Allen Woody)
Spanish Guitar (solo Kraus late 70’s custom)
Bells (bronze, aluminium)
Accordina (by Marcel Dreux)
Epiphone Jazz Guitar
Java fretless guitar (Indonesia)
Tun and other bamboo drums
Talking Drums & Udu Drums
Percussions (bombo, Kuntrun, derbouka, doumbek, caxixi, etc)
Cymbals (Zildjian, Paiste)
Folk Guitar (Martin J15)
Stratocaster Guitar (Clean, Disortion)
Upright Bass: bowed (solo§ion), pizz, noises and FX
Marimba and Xylophone (real & samples)
Glockenspiel and Vibes (real & samples)
Ocarinas and clay “birds”
Strings fake or real? (combined samples and real performances of basses and cellos)
Crystal Bowls & Glass Harmonica (samples)
Arpeggiator synths, analog synths, vocoder.
Bass Ukulele (Kala U-Bass)
Besides his extensive work for some of the world’s finest Music Libraries, Daniel Diaz composes on demand music for films theatre and TV.
He works in Paris, France in his recording studio where he records, edits, and mixes his own projects and other clients music. He uses his mobile studio to capture sounds while travelling around the world. This gives him autonomy and a fast response to special request/commissions.
Daniel Diaz talents as a multi-instrumentalist allows him to create rich compositions as stand alone musician, performing: acoustic piano, acoustic and electric guitars and basses, upright bass (pizz and bowed), synthesizers, programming, ukelele, charango, harmonium, hang (hand pan), percussion, accordina, melodica, some indian flutes.
He use to call additional musicians from his roster in Paris, USA, Spain and Argentina, to perform woodwinds, drums, cello, violin, accordion, bandoneon and trumpet.
Production music libraries
You can find (and license several) other D.D.’s compositions on these international publisher’s catalogues and music libraries:
Swan Song is the final statement (and final physical release) by Daniel Diaz after The Years Alone and Seguundo Cilco,in the same wolrd-jazz style.
Produced by Daniel Diaz
Recorded between 2009 and 2014 in Buenos
Aires, Lanus and Villa Gesell (Argentina), Paris
and Montreuil (France),
Los Angeles (USA). Mixed and mastered 2015 in Paris.
Daniel Diaz: acoustic and electric Basss,
acoustic and electric guitars, requinto, upright bass, acoustic and electric
piano, keyboards, vibes, hang, harmonium, percussion, accordina, charango,
Steve Arguelles (UK) Drums Gustavo Bulgach (USA/Arg) Clarinet Patrick Bebey (Cameroun) Fender Rhodes Javier Estrella (Argentina) Drums Leandro Guffanti (Argentina) Soprano Sax Damian Jarry (France) Cello Line Kruse (Danemark) Violin David Lewis (Australia) Flugel Horn Olivier Manoury (France) Bandoneon Daniel Miguez (Argentina) Drums Norberto Pedreira (Arg/Fr) Guitar Bobby Rangell (USA) Alto Sax, flutes Luis Rigu (Arg/Fr) : Flutes Inor Sotolongo (Cuba) Congas Miguel Yanover (Argentina) Tenor Sax
This album is called Swan Song. Here you will find the last chapter in the research I started with my very first album in 1993. In terms of style, Swan Song can be considered as the third and last part of a trilogy (started with The Years Alone and SegundoCiclo in between) of solo “composer” albums where I can also show my skills as a multi-instrumentalist and arranger, and gather compositions written in different places and times, with varied styles and instrumentations.
Like the two aforementioned discs, I
asked for help from some friends that I like (people with whom I
played and shared stages and recording studios over the years, and a
couple of new partners). These great musicians gave life to these
songs and added musicality and talent to Swan Song. They
managed to interpret the meaning I intend of all this:
simplicity and beauty prevail over technique.
Here you’ll find simple and catchy instrumental compositions with
strong, sensitive melodies, passionate and sophisticated harmonies
and atmospheres, rather gentle rhythms and a variety of instruments
In Swan Song there are tracks with odd and irregular metric,
unexplained modulations, dozens of time-signature changes, erroneous
dissonances, tempo shifts, etc. But hopefully it all goes unnoticed
(only visible to the musicians who read the sheet music and to those
who try to transcribe this music).
So it is ok if this long record seem
banal and simple to some listeners. But may the sensitivity it hides
reach the hearts of some. It was made with all my soul and heart, I
landscapes, consonance & solitude
a compilation 2006-2015
soundtrack and production music by daniel diaz
ambient, repetitive, minimalist, naïve, simple and sensitive instrumentals
released August 22, 2015
album dynamic range DR 13 24 bit digital masters
performed by DD (ukulele, multiple bowed upright basses, ronroco, upright bass pizz, charangos, 6 and 12 string electric and acoustic guitars, percussion, acoustic and electric bass guitars, xylophone, analogue synth, glockenspiel, requintos, voice, hang/spacedrum, upright piano , celesta, field drums,Indian harmonium, accordina, string orchestra samples.)
with gustavo bulgach (clarinet) and michel herbin (harmonica)
started as an exercise on nostalgia meet fashionable electronic music. I’ve
been asked in the past few years to score in a specific, “modern” style,
inspired by late takes on electronic music like Cliff Martinez,
electro-acoustic soundtracks like Johann Johansen and Clint Mansell and more
abstract stuff like Alva Noto, Fennesz and Ryuichi Sakamoto.
pushed me to revisit this recent and fashionable styles were really reticent
to go in a more traditional, old-fashioned electronic school that proved to
be very successful and efficient in film scoring on the 70’s and 80’s. Most
notably the works of people like Vangelis and Giorgio Moroder. Now, that was
outdated and dowdy. But as we know, what’s dated today will be fashionable
again tomorrow and eventually I played the (illegal, I know) “Esper Edition”
of the Blade Runner OST (that I cherish) to somebody who was crazy
with the vintage sounds of Drive soundtrack and realized that, at
least those old styles were “in” again.
the analog sounds, it was the compositions that charmed me when I was a kid
and that I was missing the most in recent “electro-years”. Those “themes” and melodies spiced by electronica,
those arrangements that could sound almost baroque and out-dated now.
I’ve found myself going back to those LPs I own, full of
melodies and yet deeply electronic, from my first purchases (Wendy Carlos
and Isao Tomita) to the recent Sakamoto haunting piano with
electro-glitches collaborations, through Vangelis and Giorgio and some
Here for you,
an hour of electronic themes; synthetizers and acoustic instruments,
programming and real performances, melodies, chord changes and soundscapes;
all as an homage to those