FL: It's clear that tango is part of Argentinean Folklore, as well as
that Argentinean music is as huge and rich as Argentinean geography itself. That's the only reason why they are known as two different genres. The fusion consists of local aboriginal genres, those of Africa, and of Europe of colonial times in case of the rural folklore. In tango we see the European influence of XIX-XX centuries as well as of Africa. The prehispanic influence is almost relegated. I consider this the principal difference and in historic context. The tango is born with the city. Of course, the genres are connected. Milonga campera is a clear example of the midway between tango and rural folklore.
BT: What is you favorite tango? What tango musicians have influenced you most?
FL: This is a difficult question to answer, since the history of tango is very rich. Not only in various historical epochs of the genre, but also in diversity of the styles and composers who compose them. Flores negras is a very beautiful tango. The Decarian generation. Carlos Gardel and his creation from the marvelous Tango Cancion. The orchestras of the 40s with Pugliese, D'Arienzo, Troilo and Di Sarli at the head. Don Agustin
Bardi of Salgan show his genius. The works of Troilo as well as in vocal tango with different poets. I might quote Sur or Garua. The great singers have influenced me much also. Astor Piazzolla has influenced me to a large extent, not only as a musician, but also as an example of the struggle and persistency in what one believes. All his work is magnificent. In particular I adore the composition called Los Sueños that belongs to his last period.
BT: Tell us, please, a bit about the image of Argentinean folklore music nowadays. What styles does it consist of? What is its popularity among the youngsters?
FL: The Argentinean folklore is as a broad genre as country's different landscapes. It would take a lot to border each of them. Fortunately, many adepts have recovered. As any other genre it has its commercial part, less valuable than the other one, more pure and sincere. But the genre is very popular in both aspects. I think that this genre has not yet gained its international recognition, like others. And I see it possible in future. It's of immense richness and with many colors of European music. Other American folklore is more ethnic.
BT: Do you like when people dance to your music? Do you find it danceable?
FL: Of course, yes. All music can be danceable. And I consider mine danceable as well. In fact, I know that it's used a lot for dancing. Also I enjoy just listening to the music that is considered to be preferably for dances. Everyone feels it his way.
BT: Do you dance youself? Do you like the dancers? What dancers?
FL: I'm not a great fan of dancing. In Argentinean folklore there is a refrain that says: "The one who plays never dances!" Hahahaha! That's a nice joke. Sometimes it is true, sometimes not. I admire the great
dancers. Viola y El Chucaro, as well as Los Saavedra in Folklore. Copes is a complete artist, always looking for something new in tango. The tango with too many fantasies is not the one I like most.
FL: Zamba is a genre which I like most of all jointly with tango. I could play only these two genres and be happy. Zamba is slow and with a beautiful cadence. In a particular 6/8 time, but as sensual as
tango, both musically and in terms of dance, where the couple has a closer contact. In some interpretations it almost stops being a "loose couple", the contact indeed is closer than in other folkloric dances. Atahualpa Yupanqui, Los Abalos y Gustavo Leguizamón have extremely beautiful zambas.
BT: Where do you see Rosario's position on a musical map of Argentina y the world? What is Rosario for you?
FL: Rosario is my family, my city for 22 years. Where I started my career which I continue now in Buenos Aires. Rosario always gave great musicians, and, unlike in other places, offered them in very diverse
genres. I could name Fito Paez, Antonio Agri, Ernesto Bitetti and El Gato Barbieri, to name very few. We, the Rosarinos, have a good fame of good musicians. It's an honour for me that people from other places
always remind me of that.
BT: How did you grow musically?
FL: My family, especially my father, brought me up between music of all genres. First it was folklore. I studied percussion from the age of eight and till I was 21. Both in school and in university in the city of Rosario. As for harmonica, I learnt it myself, applying to the instrument my theoretic knowledge. Recently I studied harmonica with Diego Schissi. I'm constantly preparing myself all he routine of special reading, of improvisation, etc. And sure, I'm listening the grandees in various genres. That's a great learning as well!
BT: Hugo Diaz. What does he mean for you? Where does Hugo Diaz stop and Franco Luciani start? For me it's clear that you have a lot to add after the great maestro.
FL: I can speak about the importance of Hugo and his characteristics very simply. That's a musician who exceeded the limit of his instrument. He is admired by great deal of musician, no matter what style they belong to or what instrument they play. He is something marvelous. He created the Argentinean sound for harmonica, imitating in certain moments bandoneon or accordion, depending on the genre he played. Argentina has developed reeds a lot. This style influenced greatly the harmonica players of today, although I also use other sources.
BT: Do you play the same trademark of harmonica as Hugo Diaz?
FL: Today I play "Hering" harmonicas that were made more than 80 years ago in neighboring Brasil. These harmonicas offer me the sound and response of excellent quality, and the models are very diverse depending on the necessity. Although it wasn't his main mark, I know, that Hugo Diaz also used it.
BT: Could you name your projects and albums?
FL: Armónica y Tango. Franco Luciani con Daniel Godfrid, 2006; Acuarelas de bolsillo. Franco Luciani Grupo (Martin Gonzales/guitar, Facundo Peralta/bass and Franco Exertier/percussion. With special
guests invited), 2007; Proyecto Sanluca. Rodolfo Sanchez, Franco Luciani and Raul Carnota, 2009
BT: Introduce, please, your friends.
FL: The above mentioned musicians are very important in my career. I not only share with them the professional part of my life, but the everyday life as well. And it can be felt in music. Facundo Peralta is
my oldest companion. I knew him even before I dedicated myself completely to harmonica.
BT: What are you doing now? When will your next album be made? What is it gonna be like?
FL: As for my personal album, I still have no idea. Definitely it could be a tango trio plus vocal in a new project I'm presently working on now. I have already recorded a disc of Tango And Folklore
in Madrid jointly with Federico Lehner and his trio. I don't know when it will be edited. I'm constantly participating in sessions for the CDs of the most important Argentinean musicians like Mercedes Sosa,
Pedro Aznar, Luis Salinas, Guillermo Fernandez, Horacio Molina, Leon Gieco, Gotan Proyect or Peruvian singer Eva Ayllon.
BT: Do you travel a lot? Where have you traveled? Where would you like to travel to?
FL: I would like to travel wherever I could, bringing with me the music of my Argentina. That's what I'm constantly doing indeed. I have already been three times in Europe with the projects of my own or
projects of other artists. In 2008 I traveled to Rome, Milan and London with Mercedes Sosa. I had concerts of my own in Catalunya and Madrid, in Paris and Aix-le-Bans, in Brussels and in Vancouver. Several months ago I had a tour on the biggest US cities with Eva Ayllon. Also I visited Brasil, Chile, Paraguay and Uruguay. For the first part of 2010 I have planned a concert in Uruguay and in Vancouver jointly with Canadian musicians. After that a dense agenda in Argentina including famous festival in Cosquin. In February I'm
traveling over Argentina and then to Peru. In march I'm coming back to Europe joinly with Sexteto Hyperion visiting Greece and Italy among other countries. Let's hope Russia and Ukraine will be next!!!
BT: Would you like to play at milongas? Tell us about peñas. Are they similar to milongas? What peñas would you recommend people who travel to Rosario?
FL: Of course, I have played at milongas. In La Viruta in Buenos Aires or in Brussels at Festival of Tango in 2009. That's a fabulous atmosphere. The same as at peñas. But there are differences. At milongas everything is spinning around dancing, including live music. But at peñas mostly people share folkloric songs. The guitar passes from table to table, and everyone offers his music. Also the same song is often sung from different tables, like a big improvised choir!! El Aserradero is a beautiful peña ein Rosario. Actually, I have not been
living in Rosario, but in Buenos Aires. I'm not really into the new peñas there.
BT: What music inspires you? What are you listening to?
FL: The music that inspires me is the one that is made with dedication, respect and love. The genre does not matter. I love Bach; world's folklore; the improvisation language in jazz; rock, not modern though. I enjoy this music and learn from it and from its grandees. Argentina has wonderful young musicians. And those who are not so young as well.
BT: Where does tango go to? How do you see its future? What problems does it have?
FL: I see tango growing every day, and it makes me happy. I celebrate when some good music, no matter what its origin is, especially the one from my country, gains an important position. For example, new young
orchestras. The work of Ignacio Varchausky and his orchestra-school for the young musicians. Or creation of a digitalized archive of tango to preserve precious heritage. New singers like Noelia Moncada or Jesus Hidalgo to name among others. New and wonderful compositions for orchestras or tango-songs. Although the latter does not spread too much. We have to remember that the idea is not in over passing the classic material, neither in believing that it's impossible and that "new Naranjo en Flor will never be made". The past serves to go ahead. I see tango very well, although it's, of course, accompanied by a fad which only intends to exploit tango economically and doesn't serve it's cultural growth.
ElBuentango #1, 2010
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