MUSIC: ROCK ROUTE Tijuana
local groups in El Travieso Hall TJ
Interview with Jaime Zamudio, Tijuana trumpet player with a career in musical projects such as No, then Tijuana No, something is wrong, Local Four, at a time when the excitement of rock bands opened, conditioned spaces closed to the public to organize gigs.
But what about all these groups as The Jumpin Beans, The Borrasca , among many musical mushroom-Zamudio speaks of 300 bands, which appear to move "underground."
Trumpeter and current contributor to the group Punta Chueca, Jaime Zamudio, addresses the local scene of bands and clarifies a musical phenomenon that is manifested in every age.
This phenomenon of dominant genres of the times, placed Tijuana No in the first world as one of the most successful bands, apparently, that led to international travel.
Jaime Zamudio did not travel as a rock star with Tijuana No, but behind the scenes made the chamba - 1989-1991 - with members No: Cecilia Bastida, Jorge Borja, Luis Güereña, "Teak" Garcia, Jorge Jimenez, M. Meciar, Julieta Venegas and Ricardo Zamudio.
As was two years of collective work to make songs like Poor you, a piece which contains Julieta Venegas voice and lyrics, with the creative participation of each of the musicians.
In an effort to promote Jaime Zamudio was also organizing concerts in major cities throughout the state.
"So en diferentes partes del mundo, de repente surgen propuestas que se parecen. Que es lo que ocurrió en la década ochenta cuando surge Mano Negra en Francia-España; cuando surge Cadillac’s en Argentina; cuando surge Maldita Vecindad en México.
“Y en ese tiempo surge No, sin el Tijuana, nada más el grupo No. Pero son propuestas que surgen con una particularidad: cada grupo tenía su sección de metales. Traían saxofón, trompeta, trombones. O sea, cada grupo tenía su sección de metales y, aparte, la música estaba ya metida dentro del género del rock en español.
"Along with many more groups that suddenly sprung up like mushrooms. Coincides with a current that is chained. This is what occurred in the late eighties and early ninety, "explains Jaime Zamudio.
The tireless and active musician, known for his collaborations on multiple projects related to literature, music, dance, workshops and alternative spaces, identifies the weakness of the musical production in the region.
bands with interesting proposals, began their performances in alternative spaces, bring together young people face alone the geographical isolation of the entity.
Due to the lack of an established business with a record production structure, promotion and dissemination in pushing profitable as it was Tijuana No and, today, Julieta Venegas.
Therefore, the record companies to get dazzling promises so that young people will play center Republic, and go without any certainty of the conditions to which subject if you want to excel.
"in Tijuana. In Tijuana, there is no infrastructure or the business sector does. For example, there is no business infrastructure in Tijuana directed towards art, in this case is poor, very poor or nonexistent. For once define what happens here in Tijuana.
"Because, for example, the infrastructure we have, in terms of institutions, we House of Culture the CECUT [1]. CECUT But, then, is a white elephant for local creativity. In other words, programs usually bring drawn from a year or two years earlier. About what is going to make or do nothing and creativity is considered local.
"What they have done (bands) in Tijuana, the groups are becoming very difficult to remove. We've got to Ensenada to Mexicali to San Diego, Los Angeles. But skip the Sonoran Desert and reach, after Culiacán down is very difficult, right?
"Or go to San Francisco, California, those places that also are difficult legal issues. It is a difficulty, which historically musicians from Tijuana has affected us.
"I mean, first isolation from the rest of the country to the south and north legal issues."
And Tijuana that hold only the legends of all-night bar with bluesmen distilling talented guitarists, jazz musicians or that are installed in the city to compose their pieces.
"Tijuana is a geographical point of the world where great musicians have agreed, musicians who have come from other places and have made music with musicians from here in Tijuana. And musicians who have come here in the city. "
-The case of Carlos Santana whose beginnings are located in the city and who has an entire brand and stamp album.
"Yes, but if you you look at what is the brand of the music of Santana, that is, in Tijuana there is nothing of that. In other words, the infrastructure of it. As a mythological character for the city of Tijuana. Him in his life artist has an entire infrastructure elsewhere that does not lie there in Tijuana. All that part of it, for it is something that adds nothing to the city. "
" So at the beginning of the nineties, many barbarian groups already in the pipeline emerges from the rock in English and large companies in the Federal District come to "rescue" the very best unclear contracts for youth members.
- "What happens is that when you give creative phenomena in music in the town, the business sector is completely unprepared. The regional employer does not have the slightest idea how to just get into this business.
"In Tijuana, there has been very important moments in music. For example, in the nineties, only in the city of Tijuana were more than 300 bands, here in Tijuana. And no band playing 'covers'. All bands have their original parts.
"We are talking about more than 300 bands that were in Tijuana with his own music. Well, all this creativity, all those parts that were generated at the time. All that music out there is recording of 'garage' with each of the musicians who are dispersed and left and music.
"But there are those lost records of the nineties when there is rock in English. And Tijuana is one of the places where the rock in English and was taking time ago. When there is the No, The Jumpin Beans, banda as The Borrasca and well, after that comes the wrong thing, which is a project where I participated. Local Four, which is another project I worked.
"Well, with these there were over 300 bands playing concerts 'underground' in yards, homes, in classrooms that were practically closed to the public."
-Tijuana does not finally break with the constraints of geography and reaches from Mexico City to sign a contract where they agree not to play in Tijuana without authorization from the record. However, the record company does not make real commitments to the group, which fails to promote and give management an advantage que pone a Tijuana No fuera del escenario.
—“No establece, pues, los compromisos de conciertos, de publicidad, de grabaciones y, aparte, los recursos para la banda y para la empresa. Y ahí se acaban el proyecto; lo chupan hasta donde les alcanza o hasta donde pueden y ya cuando no les sirve lo sueltan.
“Y ya no deja que ninguna otra empresa los pueda contratar. Mientras tanto hay un desgaste de la banda y llega un momento en que la banda prefiere mejor deshacerse, desbaratarse que continuar. Que es lo que pasa con muy buenos proyectos de música. Prefieren fall apart, everyone grabs for his hand to be holding a contract that does not suit them disadvantageous.
-Disadvantageously.
- "complete disadvantage. That is what has happened in the history of music, but particularly to the bands of Tijuana. "The companies seize the material. They sign contracts where the songs become the sole property of the company. And then there the artist goes missing, and no royalties. And if the company you should freeze the songs. And now. Not promote them.
"I mean, freeze the songs no longer play them anywhere. Do not distribute. And there are parts that are not disseminated. This is what happened to Tijuana No. entered a lot of dynamic mobility, travel to different places. But returning to wear tremendous. "
Jaime Zamudio says that this "vicious cycle" is generated from the groups are going to Tijuana in the biggest boom times, when local concerts gain strength, create a movement around of them and people close to the bands begin to organize events, to promotion.
"The anger is that when ... That's what I mean when I say co-opt the best bands ... The anger is that when entrepreneurs are emerging in the resort is taking the move 'underground' with new bands, new proposals, with an audience that is being built at that time, companies go elsewhere, the DF, mainly.
"They realize they have potential, are being taken and disrupting the movement here. Then the groups 'underground', which was built-potential entrepreneurs, who at that time could be strengthened around the groups, thunder, they take away the movement, or thunder, or can organize concerts, no nothing.
"Bands are not here, and taken away. And they offer nothing beyond. Reveal anything more, the dizzy and then return to the city worn. Once the compass, which were strengthened as well, and thundered. So it's like a vicious circle is therefore difficult to jump. It is not easy. It is difficult to trace. There is a part of the music is a matter of the city.
"Now with this roll of globalization. As the Internet is another way to promote yourself. Within the movement 'underground' is also another possibility.
"For developing this infrastructure, I will go more slowly consolidating the movement, that is, and as a movement, where entrepreneurs may arise from the same mob, of the same populace that understands the movement and they construct an undertaker at a time with the music movement.
"For example, those that are emerging. That cool! Emerging companies in which they could build these projects.
"I think some people have the opportunities that have the resources. I think that by now there are people who might be working on that. "
Juliet's experience
For Jaime Zamudio for Julieta Venegas is different because she decided to leave the Federal District where the project develops music while establishing the necessary contacts to penetrate the market. The advantages of being in the capital resulting in greater projection, better opportunities to go for concerts to nearby states. Much of this happens with bands not so good, but they are close to the record companies.
be in Tijuana with a good music project and a contract means expense for the company, through distance and, therefore, risk of falling off the stage. "Tijuana is a point then where music has been and is local, yet when he breaks the barriers of legal and geographical we realized that Tijuana musicians have quality. And proposals that transcend. "
-In addition to understanding market dynamics, Julieta Venegas knew she had to provide a salable product.
- "I think it depends on the vision that each group. What is their commitment to the music itself. It deals with many aspects. From philosophy that follows the group. In what creative purpose. From an ideological stance, be it music with social content, reporting, or a political stance, much depends on it: philosophical, political, ideological, social in the proposal, and engagement.
"Either view can be managed as the music business. You can enter other spaces. I think that's how I understood Juliet.
"Julieta think very well understood the question, was a business to start. And I had to make parts, which are marketable in subjects without apparent criticism without social criticism. Although they seem redundant, I realize that the songs are not superfluous Juliet, or are redundant.
"In that sense it is a very intelligent girl, really. I like your work and makes me is a phenomenon that does not come easily.
"Juliet is under construction, has a lot to give. It knows how to move on the issue of the commercial and creative. So the morra has much to give. Well that's my perception.
"Well the girl has already given much. But for the city of Tijuana, po still do not see anything like that, right? Perhaps projects like she could afford to build something that Tijuana could consolidate other proposals, which were nothing more than roll it and stuck, and rang ... And businesses in the City, the companies make all connect in the international arena and in Tijuana does not reach any of that infrastructure. This empties the city in that regard.
"Yes there are groups do exist, recording studios, but those studios are surviving. In other words, there is no switching between recording studios and music projects, which at one point to connect and work product musician The studio work can still throw a product out, because companies are big, strong, are elsewhere.
"Then what is produced here, if there is no way to connect distributed and there is strong and profitable for local farmers, if not given that, let's continue.
"For example, there is a very close, very close to Juliet Tijuana musicians. There is no relation to the great musicians of Tijuana, they're good. Although Cecilia Bastida goes with it right now.
"So are the great musical events. Although Manu Chao, I know who travels with his musicians. And are your compass in the neighborhood, with which it formed, with which it was made.
"In some ways, they are pulled, they are taken. So it is something I talked and made me see that. Not that Manu Chao brings his musicians!
"They are not musicians, but they are the ones that were pulling for many years. And they jala: damn, we touch, is not it? So, it falls to me but it's up to you. I want you in my band. These things, therefore, here in Tijuana have not been given. "
[1] Centro Cultural Tijuana.
0 comments:
Post a Comment