July 31, 2021

From “Aguerrida”, Mel Muñiz mixes styles in an “ungenerated” way – Télam

Muiz will re-present “Aguerrida” on February 5 at 8:30 p.m. at El Monasterio (San Martín 705, CABA)

Mel Muñiz, who was part of Las Taradas and integrates La Familia de Ukeleles and Bourbon Sweethearts, among other projects, made his solo debut with the attractive album “Aguerrida” that he presented on Friday night live at Recoleta and where he synthesizes in a personal key a repertoire that includes genres such as bolero, ranchera, waltz, son, jazz, swing and guaracha.

During an interview with Télam, Muñiz considered that this melting pot of latent styles in his recent first solo album is due to the fact that “I make pop music, but what popular music was 80 or 100 years ago”.

Clarifying that singular and diverse sound experience about which she sings in Spanish, the artist ironically warned that “I am to degenerate genres. This is how it was recorded and can be heard, so I write down the degenerate box ”.

I am an artist wanting to open my heart to people and show them what I feel, who cares if the orchestration is as is or if I am respecting such a thing?

In “Aguerrida”, produced by a specialist in Latin as Juan Pablo de Mendonca, member of Orquesta Sonora Marta La Reina and Alegrías de a Peso, both experimented around popular music.

Muñiz, who is also a member of the Ukuleles Orchestra, the Bourbon Sweethearts female trio and the Duo / Quintet together with the pianist Rodrigo Núñez, mixed La Lupe, Chavela Vargas, Chabuca Granda, Patsy Cline, Omara Portuondo, Héctor Lavoe, Anita O in his own way. ‘Day, Billie Holiday, the Boswell Sisters and Ella Fiztgerald, to name a few notable influences.

The plaque gathers “Aguerrida”, “In your hands”, “If you are not here for me”, “Harta”, “Dawn”, “Not a drop of love”, “Do not make yourself”, “Passionately”, “Al sigh “And” We are sisters. “

“They are songs of mine that I like to place within what I like and from then on I am an artist wanting to open my heart to people and show them what I feel. Who cares if the orchestration is as it is or if I am respecting such thing? ”, commented Mel.


And showing off that mixture that he navigated consciously and joyfully alerted that “all themes have something. They start from a rhythm but have a key that is not really of that genre, that perhaps one listens to it and does not realize it because it is very punctual.

Muñiz presented “Aguerrida” on Friday night at the Terrace of the Recoleta Cultural Center and on February 5 at 8:30 p.m. he will perform it again at El Monasterio (Patio of the Santa Catalina Monastery, in San Martín 705, in the San Nicolás neighborhood of Buenos Aires) .

Télam: How was “Aguerrida” born?
Mel Muñiz: I chose Juan Pablo de Mendonca as a producer because he is a person who lived in Cuba and Mexico, he has a long history of Latin folklore for having hardened it, for having been there and he is a very versatile and well-loved musician, so it seemed to me that he was the right person. I devoted myself a lot to composing and listening to the influences that are heard on the album, from they are to boleros and waltzes from different places even though nothing is 100% folkloric. The boleros have an air of other things, the waltz seems like it is for the average Peruvian side but the melody has nothing to do with it and the lyrics either, all the songs have their own musical licenses within the genres. Nothing is totally pure, everything is a mixture of things.

T: Did you plan a lot that the songs can have orchestrations like on the album but at the same time can be played in other formats?
MM: To record it, we thought about everything and what each song asked for and then we adapted it live. They are songs adaptable to other orchestrations and you don’t always need this structure. It would be beautiful, but I can’t go with 25 musicians on each stage.

T: How did you get to this level of knowledge of such different rhythms and styles?

MM: I really don’t know where to start because I’m 35 years old and I’ve always been a musician. At 22, I was already teaching at the music school where I had my private students and I was playing live. I do not know where the common thread of this music began, because of course I had rock bands and the genres that you can think of. There is something that I feel that I share with professional musicians and that is that we like everything. Then one can delve further into one genre or another. But if I have to go to a place, I could say that I studied at the Buenos Aires School of Music and learned a lot about jazz where the harmony part is very applied. I liked it a lot, it is a very rich genre to learn to shred melodies and harmony. There I came across swing, with what was previously in jazz and I fell in love. It seemed to me something with a lot of language and that was closer to the songs, while the more modern jazz it is further away from the traditional song structure. And there are genres that always go hand in hand and people who play swing play boleros and musicians 100 years ago played all Latin American genres, so this work is the result of my starting to flirt with all that.

T: What did you want to talk about in the lyrics?
MM: Each topic is a movie that has to do with me. I make the joke that I make future songs, because perhaps there are certain themes of love or lack of love that I may have composed a year before separating. I think the unconscious works a lot on composition, especially if one gets carried away. If you want to compose for people you are wrong as an artist, I feel that. I feel that it is composed for one, to sublimate things, feelings and emotions. Then it comes to people one way or another, a lot of things happen. You have to come your way, songs have a life of their own and I think it’s good to be faithful to that and not want a song to sound like that because people are going to love it.