A 19 years after his death, a return to the stories and creations musician became an admired and respected character, as an icon of "young tango".
Mariano del Mazo
He had an overflowing emotion expressiveness, seducing with delicate arms charisma at the same time aristocratic street, He puts own rules to stand on a stage facing the audience, He was an educated and passionate conversationalist, he liked whiskey, Women loved him, He had problems with heroin and died young. We're not talking aboutLuca Prodan; we are talking aboutLuis Cardei, an extraordinary artist.
Mensurar is complex Cardei influence on the landscape tanguístico mid of 90. It was a turning point of the notorious finisecular renewal, milonga starring mostly in slippers and school students of popular music that plunged into the knowledge of tango. It was an effusive moved, protein and diverse, which he had the aesthetic and political ends to the embattledOrquesta Fernández Fierro with the expansive cantorChino Laborde a head on one side; the other toStartup, with the sober voiceAriel Ardit. Luis Cardei He transited another path but, curiously, It was an immediate and transversal history of this phenomenon at that 2000 troublesome and feverish some categorized as “young tango”.
He looked out from the core of one of the most endearing and marginal traditions in the history of tango, the singer's bowling. For decades he decorated Wednesdays Corner Arturito, a canteen located in Pavon and Chiclana, with minimal company of a diffident bandoneon player and all-terrain born in Italy named Antonio Pisano. Late at night he unfolded in the southern comedero heartfelt ceremonies of evocation, They are ending with a phrase that sounded epiphany: “Cute!” Cardei was to tango what René Lavand illusionism: an art practiced in a state of purity, supplemented by amazing stories, tender, defaulter rate, as music by the buzzer nap. Humus and sang what counted was his own childhood, the cousins, the sidewalk, Radio, the carnival.
That childhood was marked by a relentless disease like hemophilia, to a product renguera polio added. To the 20 years, to mitigate the pain, He began in heroin and went to the dumps for years. This wandering as an addict can be traced in the biographyCardei (Galerna), of María Maratea, his last love, and also in the forgettable filmthe Torcan, starringOski Guzmán.
All was, forever, up hill. In that dramatic scene she exorcised box with an exquisite mood, autopiadoso. In a universe like the tango, I always bragged beau tenor and in some passages of his history of the mighty voice 'There's the latest popular phenomenon, Julio Sosa-, Cardei worked as a cantorcito to contramano coming from the depths of time to remind the tango also sang to the missing brides, the sad boyfriends, the wisteria, the vacant, to the “so boring shoes”.
He born in '40, He did not understand the '60, exhumed the '20 and '30. His artistic decisions had much of a stranger fundamentalism. He believed that most creations -those of '50 and '40 Manzi, of the foundling, of Cobián–Cadícamo- they were guilty of intellectuals. It was in that obstinacy some poetic justice: the tango had been parked too many decades Malena, in Orange Blossom, in The dizzy.
His imprint aimed at a sensitive repertoire, cándido, with findings asIvette, Prisoner, Traicionera, Where, late-night, How love dies, that enraptured unwary diners and others. At some point the public spread of neighborhood bohemian poets, writers and journalists “of the trocene”, as I said. They walked aroundGuillermo Saavedra, Luis Gusman, Luis Chitarroni. Irene Amuchástegui It was the first to reveal the mysteries of his genius and on the back cover daily Supplement ShowsClarion.
Some pieces started Recessed: it was revealed that inhabited a house sausage Miller Street, in Villa Urquiza, with his wife -Inesita- and his son -Alfredito-. He is living a world short: Pisano was Antonito and he was, for all, Luisito. Gardel inflates and Félix Loustau-the left wing of the River of the machine-, when weight lifting scarce quiniela with discretion and a network of good friends. Cardei was cut a certain stereotype of the tango: the sausage house was open windows, He had his piletón to the bottom, the cage with the canary, from patio checkerboard, Carlitos photo, and on Sundays he left invaded by the aroma of the tuco ravioli Inesita.
Word of mouth was a trail and in a few years went from Pavón and Luisito Chiclana -memorables the street Corrientes Gandhi Thursday Bookstore, after checking Elvio Vitali- and the best place to listen tango of the time: Wine Club. In a blink of an eye, Luis Antonio Pisano Cardei sang among waiters carrying trays of sweetbreads to the verdeo and schnitzel on horseback and suddenly appeared sharing space with QReal uinteto, Out-De Lio Y Nelly Omar, and record Nestor Marconi Trio and with orchestra Carlos Good. He took disks, It was summoned by Pino Solanas For the movieCloud and lived as he could -a somewhat perplexed, belatedly, always grumbling against physical hardships- the whirlwind of his fifteen minutes of fame. He did not know what to think when the newspaper The world Paris published a note on its phenomenon with an unequivocal title: “The fascinating Boiteaux“. “The fascinating lame put me. What Barbarian!”, he laughed.
Delicate, owner of a natural good taste, small and well placed voice should place it within the interpretive lineage Raul Beron, Angel Vargas, Carlos Dante. His phrasing came closer to a public not specifically tanguero that veterans of the genre. Those specialists who had orejeado the golden years -Héctor Larrea, Jorge Göttling, Julio Noodles, Oscar Del Priore- relativizaban of art. “In the 1940s it would have been one more, and maybe not even that”, musitaban. Young people instead worshiped: Lidia Borda, Cardinal Dominguez, Brian Chambouleyron, Victoria Moran and many others, They mingled among the parishioners of Gandhi or Wine Club. For all Luis had a word, a memory, ten minutes to share the last whiskey after the show. They parading in front of his table as if it were the oracle of a lost tango. They are asking him to tell yeites, to give lessons. He reluctantly came to accept some students. Once an aspiring singer had prepared a version ofPuppet, says that topic: “I had that house I don't know what soft charm, in the humble beauty of the colonial courtyard ...”. The he stopped: “For, pará ... Andá more slowly, You took all the pots ahead!”.
Separated, He fell in love, he left the neighborhood and fought up to the end without too many chances: her little body was already cascoteado for so many years transfusion. He died 18 June 2000. With him was a somewhat fantastic cosmogony: Luisito spoke and lived as if the world were a friendly and melancholy place. He gave tango a sensitivity that was not replaced. His tendency to the diminutive was a way of looking, a philosophy. Nothing is very important, it seemed to say, except love, friendship and Carlos Gardel. In some sobremesas tangueras stretched it continues naming as a spell or password. Surely Luis Cardei It did not change the history of the tango, but it changed the life of a sect that sojourned Arturito Gandhi, Gandhi to The Wine Club and still waiting for that voice to emphasize a nostalgic said acting, with the exact emphasis, simply: “Cute!”.
Source: daily Infobae – 18 June 2019
