Bio:
Tras haber compartido prolíficas obras musicales como pianista junto a artistas como Lucho González, Luis Salinas, Quique Sinesi y Silvia Iriondo, entre otros, Carlos Aguirre comenzó a vincularse con la canción a través de su labor como arreglador de cantantes argentinos, peruanos y chilenos.
De esta relación con la música cantada y la literatura surgieron canciones que quedaron registradas en tres discos con su grupo, trabajos que tienen como característica una minuciosa elaboración de impronta artesanal y un exquisito sonido camarístico. En ese contexto, su relación con el eximio guitarrista entrerriano Eduardo Isaac le aportó el lenguaje universal del instrumento y, desde esa experiencia, escribió obras para las seis cuerdas y la recientemente estrenada “Escenas paranaenses’’, una suite para guitarra, percusión y orquesta.
Como pianista, editó el disco “Caminos” (2007, Shagrada Medra), de piano solo, donde plasmó gran parte de su formación camarística, sin dejar de lado el color folklórico latinoamericano.
La composición lo ha llevado a explorar distintas formaciones para liberar su música, entre las cuales se cuentan dúos con Jorge Fandermole, Juan Quintero, Francesca Ancarola y Hugo Fattoruso, entre otros.
“Para mí la música es resultado de un pensamiento. Y el pensamiento se construye con un montón de patas que arman los conceptos que uno sintetiza en lo que hace -expresa Aguirre-. Mi música es la lectura de un lugar, pero es la traducción de un mundo interior, que está atravesado por un montón de cosas, por la realidad más cercana, por realidades distantes y por un buen porcentaje de fantasía. Si uno piensa en un mundo ideal, en el mundo que uno quisiera habitar, y lo trabaja, va dando lugar a la gestación de un paisaje interno frondoso. Ese paisaje es el que vas trabajando a medida que desarrollás un trabajo creativo como componer una canción, una música. Por eso para mí es muy grato alimentar mi mundo con el mundo de otros creadores, con quienes disfruto y crezco en cada encuentro’’.
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).