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Swan Song

 liner notes:   EN      CAST      FR    

 
Swan Song a final "disc" by Daniel Diaz 2015

Performed by:

Daniel Diaz: basses, guitars, pianos, vibes, hang, harmonium, percussion, accordina, charango, ukelele, synths.

Special guests:
Steve Arguelles (UK)
Drums
Patrick Bebey (Cameroun)
: Fender Rhodes
Gustavo Bulgach (USA/Arg)
Clarinet
Javier Estrella (Argentina):
Drums
Leandro Guffanti (Argentina/FR):
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 (Argentina): Guitar
Bobby Rangell (USA): Sax & flute
Luis Rigu  (Argentina/FR): Quena, Sikus, Flutes
Inor Sotolongo (Cuba):
Congas
Miguel Yanover (Argentina/FR):
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 Segundo Ciclo 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 and sounds.
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 swear 

DD November 2014

Artwork: Andres Schmisser
Photo: Juan Hitters
Illustration: Sergio Pittaluga.


 
Maquina Blanda, Daniel Diaz, Composer

SWAN SONG by Daniel Diaz (& guests)
2015
(Dedeland 013)  France

- Digital Download  MP3 , HiRes Download FLAC, Lossless. 
- CD with bonus tracks
               

- ORDER Worldwide  SWAN SONG/Bandcamp

- ORDER USA:           SWAN SONG/CD Baby

 

http://swansong.viinyl.com/ 

Full track list, excerpts and credits  here

 

 

 

 

If you would like to be informed of this release or other DD activities, please join his mailing list in the field here or (simpler) do send an email to info(at)dedeland.com with MAILING LIST in the subject field and your choice of language.

Thanks for your interest and support.

Swan Song info and track list here

BUY SWAN SONG

 

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Track Tilte Composed: Performed by: Time
1.   Otoño y Martes Buenos Aires 1996 Line Kruse: violins
Damian Jarry: cello
DD: piano, up. bass, bowed basses, classical guitar.
02:25
2.   Os Historicos Paris 2005 Bobby Rangell: Flutes
DD: percussion, acoustic bass guitar, drums, drum programs, fender rhodes, vibes
01:41
3.   Romantica Cromatica Paris 2004 Line Kruse: Violin   /  Leandro Guffanti: Sop. sax
DD: accordina, upright bass, piano, charango.
Daniel Miguez: Drums   /  N. Pedreira: Guitar
7:18
4.   Antefinal New York 1994 Steve Arguelles: drums
Olivier Manoury: bandoneon
DD: fender rhodes; electric bass, lead bass. 
07:00

5.   Ganimedes

Buenos Aires 1990 Line Kruse: Violins.
Inor Sotolongo: Congas, Drums.
DD: piano, up. bass, marimba, ukulele, drum program, Caxixis, moog synth.
04:31

6.   Erik Satie’s Farewell

Villa Gesell 2008 Olivier Manoury: bandoneon
DD: requinto, vibes, drums, up. bass.
05:33
7.    Alexis Luminoso Paris 2008 DD: ac. guitars (steel string), up .bass, bowed basses. 01:49
8.  Tristesse Collatéral Paris 2009 DD: piano, up. bass, classical guitar, treatments and tape delays. 03:43
9.   Same Old Song Buenos Aires 2009 Miguel Yanover: tenor sax
DD: piano, drums, up. bass.
03:35
10.  Harold's Lake Paris 2014 Damien Jarry: cello
DD: piano, hang, up. bass, samples & treatments
05:05
11.  Resumé (Swan Song) Paris 2014 Steve Arguelles: Drums
David Lewis: flugel horn
DD: piano, up. bass.
05:00
Bonus Tracks (CD and Deluxe Digital editions) 
12.   Palermo      Buenos Aires 1988 Bobby Rangell: Alto Sax   /  Javier Estrella: Drums / Patrick Bebey; Rhodes    /   D.D. Upright bass 08:54
13.   Neo-Zamba
       (Fin de siècle)
Paris 2013 Bobby Rangell: Flutes  /  Javier Estrella: Drums
D.D. Upright bass, hammond, vibes, accordina
05:32

14.   New York Polonaise

New York 1996 Line Kruse: violin
DD: piano, drums, up. bass, accordina, ac. bass guitar.
04:15
15.   Gandolfini Etc Paris 2013 Luis Rigu: flutes
DD: fretless bass, hang, harmonium, percussion.
05:23
16.  Vignette L.A. Los Angeles 2008 Damian Jarry: cello
Gustavo Bulgach: clarinet
DD: ac.piano, drums, up. bass, samples & treatments.
05:19

 

 

SWAN SONG by Daniel Diaz                                                                       REVIEW November 2015
DedeLand/Exodos October 2015

Multi-instrumentalist, composer, arranger, and producer, Daniel Diaz, releases a new album, Swan Song, which is an instrumental gem that includes sixteen tracks and a total running length of nearly seventy-eight minutes long. The Argentinean-native brings together South American nuances, jazz melodies, new age arrangements, and laid-back, cinematic compositions for a truly world music recording that includes a range of musicians from the USA, Cameroon, UK, Denmark, France, Australia, and Cuba. Daniel plays bass, guitars, piano, vibes, hang, harmonium, percussion, accordina, charango, ukulele, and synth.

“Romantica Cromatica” begins with a few twinkling piano notes, laid-back swishy percussion, and accordina or bandoneon sounds. The jaunty mix contains some emotive violin displays from Denmark’s Line Kruse. The light percussion, strings, and piano notes signal a South American jazz medley with neo-classical, roots, and folk wanderings. The guitar sounds are rather acoustic and playful throughout. The violin amplifies the middle part of the song, as a fluid sax melody ensues. The quaint and diverse melody is rather romantic and evocative, but not too showy. The music showcases some excitement near the end of the song with a flurry of musical activity, but it is all very relevant and necessary.

“Os Historicos” opens with a swishy percussion melody and Spanish-tinged guitar set-up with clarinet sounds and a rousing rhythm that is very breezy and South American in tone. The short tune is more of an interlude, but it is very adventurous with a host of acoustic and electric instruments leading the way. The music is very upbeat without any missteps. It is almost Brazilian in tone with historical elements, too.

“Palermo” opens with a few cymbal clashes, eerie pings, blips, and horn sounds that seem rather incongruous. However, the brass sounds, tapping percussion, clanging cymbals, fluid vibes, and light melodies bring together a variety of elements that seem to work well together. The sub-nine-minute track is full of interesting sounds and instruments that culminate into a work of neo-jazz, avant-garde, and world fusion music. The sax blurts break up the music in experimental ways that do not detract too much from the rest of the instruments. In short, there is a lot of music in the nine-minutes.

“Neo Zamba (Fin De Siecle)” begins with a gritty guitar intro, sporadic percussion, breezy clarinet sounds, and rootsy sounds that weave in and out of various jazz idioms. The Fender Rhodes creates a funky, experimental, and classic sound with a dash of South American nostalgia that encompasses light, sauntering beats and instrumental arrangements that are very enjoyable.

“Harold’s Lake” opens with a few pensive piano notes and background washes with violin accents. The emotive work is rather new age in delivery, but the jazzy elements are still there. The diverse and almost frenzied string arrangements early in the song appear later in the song, too. The earthy violin sounds are not as refined as in classical music, which may be a deterrent for some. At any rate, fans of diverse jazz and roots music will appreciate Daniel’s organic treatment here.

Daniel Diaz’ latest release, Swan Song, may be a cliché, but that is where the fun begins. Throughout the sixteen tracks, Daniel brings out rousing rhythms, evocative melodies, a slew of instruments and guests, and a frolic through jazz, neo-classical, roots, new age, and avant-garde music. The result is a fusion of sorts that mainly experiments with the instrumental side of things with a few radio voices added in one track. Listeners should expect an album of surprises, as this is not a traditional album, vocal album, or rock album. It is an almost indescribable melding of South American and Mayan elements for today’s listeners.


Review by Matthew Forss (November 2015)
Rating: 5 stars (out of 5) *****
 

Other Swan Song reviews:

https://ecmreviews.com/2016/09/02/daniel-diaz-review-for-rootsworld

https://www.allaboutjazz.com/swan-song-daniel-diaz-self-produced-review-by-mark-sullivan.php


 

 

 

 

 

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"Hay una línea de Verlaine que no volveré a recordar.
Hay una calle próxima que está vedada a mis pasos,
hay un espejo que me ha visto por última vez,
hay una puerta que he cerrado hasta el fin del mundo.
Entre los libros de mi biblioteca (estoy viéndolos)
hay alguno que ya nunca abriré.
Este verano cumpliré cincuenta años;
La muerte me desgasta, incesante.
" J.L.B.