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Dino Saluzzi

He was born on 20th May 1935 in Camposanto, Salta. Composer and bandoneon player. At the age of seven, he was initiated into music by his father, the folklorist Cayetano Saluzzi.

He has developed a language of his own which is stylistically anchored in the northwest of Argentina. It softens the frontiers between popular music and the so-called 'cult' music, between composition and improvisation, and between folk, jazz and tango.

His work includes music as a soloist, chamber music, and orchestra. When he arrived in Buenos Aires in the mid-50s, he joined the Regular Orchestra of Radio El Mundo. He has worked with Alfredo Gobbi, Roberto Caló, Enrique Francini and 'Gato' Barbieri, among others. His first recordings were made at RCA.

His international success as composer and performer came by the hand of Manfred Eicher, founder of the renowned German recording company ECM, whose artists (Arvo Pärt, Valentyn Sylvestrov, Tigran Mansurian and others) marked the artistic avant-garde of the 20th century music. He has been recording with Eicher since 1982. He has recorded with Charlie Haden, Marc Johnson, Tomasz Stanko, Anja Lechner, Jon Christensen, Palle Mikkelborn and others.

In 1991 he started recording with his family band (Celso, Félix, Matías and José María Saluzzi), whose last published work is El Valle de la Infancia (2014). He has been taking part in international festival circuits and his performance has been acclaimed in the most famous theatres in the world. Films by Jean-Luc Godard, Pedro Almodóvar and others have included his music. Documentaries about him have been made in North America and Europe. His latest work is Imágenes (2015) for piano.


Dino Saluzzi’s Discography

Some awards and recognitions

For his Artistic Career:

2002
Premio Clarín a la Música
2005
Premio Konex de Platino
2012
Premio Fondo Nacional de las Artes a la trayectoria (música)
2015
Premio Konex de Platino
2015
Premio Konex de Brillante

Albums:

2003
Responsorium. Album of the year Down Beat / Five-star "masterpiece" (US)
2007
Ojos Negros. Album of the year Down Beat / Five-star "masterpiece" (US)
2014
El Valle de la Infancia. Edison Award JAZZ Category World  2014 (Nederland))

Dino Saluzzi

Childhood in Campo Santo

Brilliant musician, Dino Saluzzi gives more importance to the formulation of his thoughts than to the fact of himself being a self-taught person came out of the oral transmission culture; for the same reason he prefers expressing himself in his mother language, the Spanish, that does justice to his concise and enigmatic thoughts which are punctuated by malicious silences. In this way, when someone asks him how his passion for the bandoneon was born, he answers that his father was the one to put the instrument between his hands, adding immediately 'But the question that everybody should make would be: Which is the reason why some day you meet someone or something?

Suddenly, doors get open and through them you can see paths traced forever. I was 7 years old when I first met the bandoneon, unless it was the instrument that found me. Since then, we never separate from each other

Born in1935 in one of the most isolated regions of Argentina, Dino Saluzzi belongs to the generation of men for whom working or playing an instrument represent almost the same vital need.

In Campo Santo the rhythm of life was marked by the activity of a sugar refinery where each one's sorrow was enough for their lives. Music worked as an unavoidable bond between community and territory, long before being recorded in vinyl records. 'The place where we are born is all. Where I grew up, there wasn't this kind of pollution of the rural world by the civilized world. The melancholy listened in my music is partially due to the fact of having witnessed things that I'd never wanted to see'.

As much as this rigorous but convivial education, this feeling of loss leaded him to give things their right value: 'My encounter with the bandoneon will remain as a crucial moment for many reasons. Maybe the most important one is that I wanted to reestablish things that were looked down on or considered insignificant before: here is an instrument that has it all and that demands a constant and creative relationship with its player. When I started to play it, it had been consigned to oblivion in the official culture periphery for years. From my point of view, I was not conscious of that situation until much later. Nevertheless, that meeting in that exact moment didn't have a special meaning. I hadn't planned it. Neither had I chosen it.

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