Daniel Díaz: Bass, organ, Fender Rhodes, drums, ukulele, synth, vocals.
Alejandro Spinelli: Guitars (electric and acoustic)
Marcelo De Bonis: Flugel Horn
The rock band Expreso Nova, formed in Buenos Aires in the eighties makes its «come-back» in 2021 with a new single: Mil Sonidos
It might be a come-back on making music together, but in career/discography terms it’s a late day debut: after 33 years of a regenerative pause, the quartet finally makes their first song officially available on April 20th 2021.
Thanks for listening, love
DD, March 2021
Expreso Nova, Lanus, Argentina 1986
Arranged by Daniel Díaz (with Chufit Spinelli and Marcelo De Bonis).Produced by Daniel Díaz.Recorded in Buenos Aires (Almagro y Abasto) and San Martín de los Andes (in Argentina), and París (France) during January to march 2021.
Download and streaming, choose your service: https://ffm.to/milsonidosSpotify link click here
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).
Swan Song is the final statement (and final physical release) by Daniel Diaz after The Years Alone and Seguundo Ciclo, 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, ukulele, programming.
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 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