IX Festival Buenos Aires Tango
Viernes 23 / Friday 23•
21:00 hs.Apertura del Festival (Av. Figueroa Alcorta y La Pampa)
Rubén Juárez y Cristian Zárate Sexteto
no contará con sillas
Se suspende por lluvia
por Jorge Göttling
Nació en Ballesteros (Córdoba), el 5 de noviembre de 1947, en el seno de una familia modesta. Lo bautizaron Jorge Rubén Juárez. Cuando el niño tiene dos años, su familia busca nuevos horizontes y se traslada a Sarandí. Allí creció, también allí escuchó los primeros aplausos: Juárez es un auténtico personaje urbano.
Una noche, allá por el ’54, un amigo de la familia fue a cenar: portaba un bandoneón. El morochito comenzó a tocar las teclas, acertaba insólitamente con tonos y timbres con rotunda originalidad. Le compraron un fuelle y estudió con el maestro Enrique Fava.
A los 12 años, deslumbrado por las modas, dejó el bandoneón y tomó una guitarra. Comenzaba la furia de la llamada música moderna.
En Villa Dominico, junto a otros cuatro locos, integraron una banda, que tuvo por nombre The Black Coats.
A él, flaquito, lo llamaban Fatiga, era guitarrista y, por supuesto, voz principal. El conjunto se disgregó y Juárez formalizó otro, Tells Stars.
Por entonces, la ciudad se conmovió con una catástrofe: la muerte accidental de Julio Sosa.
La madre de Rubén influyó para que él, que lo admiraba, cantara parte de su repertorio, entre otros tangos Tarde, Mala suerte y La casita de mis viejos. (…)
En Teodolina (Santa Fe), lo escuchó Horacio Quintana, ex-cantor de Lucio Demare, quien fue consejero, administrador, presentador y representante. Lo llevó al sello Odeón. Firmaron contrato para el primer simple: Para vos, canilla y Por amor.
Su nombre comenzó a circular admirativamente en los cerrados cenáculos del tango.
Antonio Maida, otro ex—cantor, lo llevó a Caño 14: Rubén Juárez estuvo un año y medio en esa extraordinaria cartelera, decorada con nombres símbolos, como los de Aníbal Troilo, Sexteto Mayor, Roberto Goyeneche. (…)
Para el gran público de Buenos Aires cohabitan dos Juárez.
Aquel primigenio, muchacho movedizo y audaz, afinado hasta la exasperación, obsesivo en la relación con los músicos que lo acompañaban, extraordinario profesional en potencia, capaz de pasar varias mañanas y varias tardes eligiendo su repertorio. Aquel muchacho que había dejado de lado algunos de los estereotipos tangueros, que vestía a la moda y utilizaba colores adecuados a su edad: un joven brillante, una promesa con seguro pronóstico. Un gran cantante en la perspectiva.
Y otro Juárez, el de los comienzos de los ochenta, con la fama ya ganada, que producía admiración a sus más relevantes pares, incluido Roberto Goyeneche.
Ese artista integral que era emblema de una nueva manera de interpretar la tanguidad, intuyendo que el futuro necesitaba varios retoques. “Hay espacio para un tanguero nuevo”, decía.
Y lo cumplía con la elección de un repertorio novedoso, de gran jerarquía. Tal como lo fue en la década anterior Néstor Fabián, a partir de él será Rubén Juárez quien dé lugar a autores nuevos: será Juárez quien los ponga de moda (…) Y su inacabable humor, a veces ejercido contra sí mismo, con la ley de hierro del humorista.
Después fué el nuevo dueño del Café Homero (el inicidor del mismo era Rudy Groppo).
Me lo acuerdo que, cuando no actuaba lo veia en el entrepiso, sentado mirando el espectáculo, y ante él en la mesa, una parva de empanadas.
También recuerdo que la primera vez que lo vi actuar, cantando y tocando el bandoneón fué en el Teatro LYF (del sindicato Luz y Fuerza) allá por el 60 y pico (RBerdi)
When in 1973 I saw Rubén Juárez for the first time on television, I realized I was in front of a new star of popular song. Not only because of his assurance and the beauty of his voice, but mainly, because of his personality.
He even played bandoneon. And what was more, he did it well. To place ourselves within context, we were beginning a decade very special in many aspects, but besides it still was very difficult for tango.
As for Rubén or myself, we were a little over twenty years old and were fond of a musical eclecticism that combined the folk music of the early 60s with Julio Sosa, The Beatles and the Argentine rock.
When Julio Sosa,(“El Varón del Tango”) died, the tango scene was without major names with the only exception of “Polaco” Goyeneche who stole the spotlights and the then promising appearance, of an actress that was venturing into singing: Susana Rinaldi.
After them, the remains of the great soloists that had shone in the 40s trying to survive with more or less dignity, and beyond there was nothing at all.
Because of that, I totally agree with the chronicle written by the poet Héctor Negro that appeared on the “Los Grandes del Tango” magazine:
«When his appearance in the great tango scenery took place, there was a kind of celebration by old and new devotees of the genre, authors of various generations and different expectations, broadcasters, commentators, musicians, people…
«He was one of the rare cases when a “young and new” was accepted without resistance, almost unanimously and recognized as a figure of promising future.
His abilities as singer did not allow a hint of a doubt; his strength of interpretation, his presence and personality were striking, as much as that pleasantness and that charm that is generally necessary to win.«The truth is that his name began to be warmly recognized in the tango milieu.
It was the voice that people had been waiting for. Furthermore, he played bandoneon, and nicely. This added a special appealing feature to his personality. Then came the test of recording and he did it successfully.
He dared to play new themes and demonstrated that he could even be showcased with the classics…. From scratch he evidenced his gifts as composer, and that he later confirmed widely. He designed and created shows… He appeared at the movies, succeeded in the interior of the nation and abroad and before he was able to realize it, he had already become a true star of popular song and show-business ».
He was born in the province of Córdoba and when he was two-years-old his family moved to the city of Avellaneda, very near the Federal Capital.
At the age of six he began to study bandoneon and guitar. In 1956 as bandoneonist he joined the Orquesta Típica (tango orchestra) of the Club Atlético Independiente, one of the most important soccer teams in Argentina.
When he was a teenager he joined a rock group, when that genre was still sung in English.
Without even thinking of it, he began his professional stage when he won the contest for singers organized by a neighborhood local. He came to know the guitarist Héctor Arbelo, accompanist of the well-known singer Julio Sosa, who had died a short time before and together they made a series of tours throughout the provinces.
On one of those trips he met Horacio Quintana, who had been a singer in the Lucio Demare orchestra, who was pleasantly surprised by the vocal qualities of the young artist.Since then an important relationship is born. The friendship with Quintana was the key to open for him the doors of the most important scenery of the seventies: “Caño 14” and the possibility of releasing a record.
In fact, on June 2, 1969 he recorded for the Odeon label the tango “Para vos canilla” composed by Horacio Quintana himself and lyrics by Julio Gutiérrez Martín.
In the early 70s Nicolás Mancera, the conductor of the most popular program of television: “Sábados circulares” invited him to the TV show. Soon, all of a sudden, success comes. His name is launched to the highest levels of popularity.
Everybody is talking of the new phenomenon.His trips abroad began. He sang in Venezuela, Colombia and Uruguay and recorded a long-playing disc per year.
In 1978 he was awarded his first Disco de Oro (Gold Disc) and appeared on the Spanish television with a striking success.In 1981 he played at the “Trattoirs de Buenos Aires” in Paris and later in the United States.
He had the privilege of being accompanied by the aggregations led by the greatest musicians of that period, the maestros Carlos García, Armando Pontier, Raúl Garello, Roberto Grela and Leopoldo Federico.
Another important facet of the artist is his condition of creator of shows in theaters and cafés-concert. So were born “Mi bandoneón y yo” with the playing of the actor Eduardo Rudy; “Cosas de negros” and “Cantame la justa”, with the singer Raúl Lavié; “Cantata en negro y plata” and “Zorzales de exportación”, with the composer and singer Chico Novarro.
He shared the stagelights at “Café Homero” with the unforgettable Roberto Goyeneche and other tango greats, such as the pianist Osvaldo Tarantino and the singer Angel Díaz, “el Paya”.As for interpretation, his rendition of the tango “Dandy” is a true re-creation. The same happens with his composition “Mi bandoneón y yo”, his dramatic “Pasional” or the sweet describing painting by González Castillo, “El aguacero”, just to name a few numbers. We can as well mention “Mañana iré temprano”.
But his summit, his smash hit was “Café La Humedad”, written by his friend Cacho Castaña.
His work as composer is interesting but of a somewhat uneven quality. We can stand out “Mi bandoneón y yo” (1969) with lyrics by Gutiérrez Martín, and “Que tango hay que cantar” (1986), with Cacho Castaña. Also belong to him: “Toco y me voy” with Juanca Tavera; “Se juega” and “Candombe en negro y plata” (1982) with Chico Novarro; “Pedro Esperanza” (1983) with Juanca Tavera; “Después del ensayo”, “Vientos del 80”, “El segundo violín”, “Mi tiempo feliz”, “Tiempo de madurez” (1987), “Cuestión de ganar” and “A tres bandas” (1990), all them in collaboration with Tavera.
Now he is the owner of “Café Homero” where he goes on delighting us with his bandoneon and his appealing personality. His voice no longer has the strength or the brilliance of his beginnings but his seduction and sympathy are still alive, making us emotionally vibrate in each tango.