"Do not play with funyi, the bag tight and a bun. In that sense, at this point I can say that I have accepted my whole being, my ways and not just in my way of singing ", He reexionó singer from Holland, where it is filed.

The singer Omar Mollo, cultor an expressive and interpretative line perhaps heterodox, released a new album, “Embretao”, with which consolidated its close link with the tango which, weapon, has achieved “break away from the archetype” and develop an own perl “still not found his roof”.

MAM leader (Mind Alma Matter), an iconic band nes 70, the elder brother and first teacher Ricardo Mollo guitar-leader of Divididos-, He resumed in 2003 its link with the tango and, since then, He rehearsed a leisurely way, with more presence outside the country than within it.

that transit, equal, recorded titles like “Tango” (2003), “Gola” (2006) e “And to continue…” (2008); “Barrio sur” (2012) Y “tango Cosmopolita” – nominated for Latin Grammys 2018 as “Best Tango Album” and awarded the Gardel Prize for Music “Best Tango Album Male Artist of”.

In that line, when it interrogates “Tango and Milonga-Embretao”, Mollo maintains that “what changes from one disk to another is the repertoire, because we are the same and we are oiled in our music”. That “we” evokes Ernesto “Chino” Molina bandoneon, Federico Maiocchi on bass and, especially, Diego Ramos, responsible for the piano and versions of the album. “His arrangements are amazing and I pave the way and simplican”, Mollo loose as a compliment.

“Embretao” revisits composers such as Carlos Gardel, Alfredo Le Pera, the Expósito brothers, Astor Piazzolla societies-Horacio Ferrer, Aníbal Troilo-Homero Manzi, or José María Contursi Dames-José, but also an unprecedented milonga of Atilio Stampone and Eladia (“Fiesta y Milonga”). “It is proud to bring these to the album titles. It fills me with great happiness. I simply do my thing and playing naturally, without impositions, and the truth is that I am very well received”, said.

“As for me I see on stage is a passion and interpretation. It may be that someone from the public in Europe not capture the lunfardo, but in general the public is understood and recognized that I did not participate in any pose, I have accepted my being and not only in my repertoire”, reflected.

“Really a cosmopolitan tango music became. There is a music to play in San Telmo: everywhere one finds enormous musicians ability to interpret this music”, he said. While recognizing that is observed as a figure “atypical” within gender, Mollo ensures that the distance keeps “some offline” the effervescence of the contemporary tango in Buenos Aires.

“I've been here a long time, but it is clear that beyond a matter of taste, There is a movement that brings them”, said. after a 2019 during which he presented in theaters in Belgium, Germany, Russia, Portugal and, Of course, Holland, Mollo is preparing a brief return to Argentina to perform at the National Folklore Festival Cosquín, the day 28 January 15 ND February at the Theater of the City of Buenos Aires. “I say I'm one of the few tangueros who has gone through Cosquín so that leads me enormous pride. I took fifteen years with the tango and the truth is that for me every step brings me something new and I see the roof. The tango is a living experience that does not end”.

Source: Telam – 26 from December to 2019