Marcelo Dellamea’s guitar with his own ‘Vida’ on his second solo album

Lara Sartor's photo
Photo: Lara Sartor

The virtuoso Chaco guitarist and composer Marcelo Dellamea He will premiere his recent second solo album, “Vida,” on Wednesday at the Buenos Aires Cultural Center of Cooperation.a repertoire of regional music where he also reveals himself as a lyricist and singer, showing a different sound facet than the one he cultivates as part of the Dos Más Uno trio.

Away from the media exposure of the group that functions as the stable band of the television series “La Peña de Morfi” and its impressive career as accompanist (live or in recordings) of Diego Torres, Luis Salinas, Chango Spasiuk, Raúl Barboza, David Bisbal, Djavan, Lila Downs, Yamandú Costa, Scott Henderson, Steve Vai, Chucho Valdés and Ismael Serrano, among others, Dellamea decides to “return to the ring from the place of origin,” according to the slogan.

“Making this album ‘Vida’ is my way of showing myself calm, listening to what is internal and enjoying the present,” summarizes the talented artist.

During an interview with TélamDellamea confesses that “sometimes one gets anxious and wants to achieve in a certain time, but that seems like another contamination of the environment and one’s own anxieties, so I am trying to be calmer, relax and enjoy each step that I am taking on this path.”

In tune with that spirit and embracing a guitar that he masters masterfully, the artist recorded three of his own songs: “Vidala interior” (where he sings his own text), “Amanecer Litoral” and “Despedida”.

The rest of the repertoire are known pieces such as “Al cimbar de la vida” (Félix Dardo Palorma), “Song of simple things” (César Isella), “Jefe moreno” (Ernesto Montiel), “La Humilde” (Julián Antonio Cachilo Díaz), the tango “Uno” (Mariano Mores/Enrique Santos Discépolo) and the guaranía “Mis noche sin ti” (Demetrio Ortiz/María Teresa Vázquez).

Lara Sartor's photo
Photo: Lara Sartor

With the possible presence of artists who will join the evening but without losing the intimate and solo pulse of the record, the musician will present “Vida” on Wednesday from 8:30 p.m. in the Solidaridad room of the space located on Avenida Corrientes 1543.

-How do you come to realize “Life”?
– I had been feeling a need to return to the solo path that I had started in 2010 (with “Calle 11”) with my first album and then a lot of things happened because I formed the trio and played other music in a lot of other projects, but I wanted to go back and do it from folklore based on several instrumental arrangements for solo guitar that I had been working on.

-And how does your need to sing appear and to do it from your own text?
-Lately I have been very involved in the compositional process and also in writing lyrics, which is something that is quite difficult for me because I am very particular about what I want to say being reflected there and one word does not matter to me the same as another. Although I take my time to do it, I am enjoying it much more than before and with “Vidala interior” it happened to me that I had the melody for quite a few years and only part of the lyrics. When I was going to record this album I said “well, I have to finish it”, so I started with that and with a little help from my girlfriend with some things on the chorus I was able to close it and I feel that it turned out very well, as I I imagined.

-Vidala is a very austere genre but you went in other directions…
-I think that there I managed to condense the essence of vidala and also the influences that I picked up along the way and that is why I incorporated acoustic guitars and some instrumental improvisation that could refer to pop and that constitutes the ideal song to open the album, because it has a lot strength and is absolutely my essence.

-How does the tango “Uno” appear on a folkloric album?
-The tango “Uno” became one of my favorites from the first time I heard it in Luis Salinas’ version on his album “Solo guitar” (2004), which he recorded with electric guitar and it seemed crazy to me. Then I went to the source, listened to the original and other versions and confirmed that it is a tango that is in the hearts of many people and, between a little of the influence of Luis’s version and adding some of my own things, I put together my view. which is also a very prominent song in live shows.

-Are you interested in thinking about how your two albums are linked despite the long time that has passed between them?
-It is difficult for “Calle 11” to dialogue with “Vida” but I do like to see the difference there is at an interpretative level and although that is a very good album for a 17-year-old kid and I was quite mature for the time, “Vida ” evidently shows the passage of time and all the processes that happened, my expressive decisions and even audio as well.

-What do you feel changed the most between both stages?
-I think maybe I found my sound more in these years and I’m trying to synthesize what I want to say with music as much as possible.

-Do you think you will be able to sustain your path alone with that of Two Plus One?
-My idea is that everything can coexist because I really draw from both projects that are very different, so for the moment I want them to be parallel paths and to be able to take them both.

-Regarding that journey that you started so young and with so many expectations placed on your talent, were you ever afraid of losing your way a little?
-In many moments it weighed on me and that’s why it was difficult for me to face this album. I hadn’t recorded anything alone for a long time and I got stuck and thought “well, now I have to make the best album of my career”, but then I realized that it didn’t have to be like that but that you have to do things to thus freeing up space for something new to come and experimenting, testing and learning more.

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