lunes, 6 de abril de 2009

Tito Losavio: asistencia inteligente. Especial Productores




 Asistencia inteligente.
   
  Con el propósito de conocer la trastienda del proceso de producción de ediciones discográficas, decidimos conocer la significación de estar en ese rol, que es un bastón donde se apoya un artista para llevar a cabo una idea. Tito Losavio no es ningún improvisado desde las perillas, es un músico que pareciera interesarse por la estética del sonido. De naturaleza pop divagó por varias bandas, desde “Biorsi” (banda de los espesos 80´s, donde participó Juana Molina) hasta "Los Twist", ideó "Man ray", y ocupó el rol de productor y co productor en discos de varios músicos como "Cuino Scornik" o "Palo Pandolfo".
Segunda parte especial productores.

Por Santiago Ramos y Guillermo Romani.

 ¿Cuál es el rol del productor artístico en un disco?
 Cuidar que el proyecto con todos sus componentes llegue a buen puerto. Siempre puede haber algún lastimado, pero lo que importa es fijar destino y arribar a el.

¿Se involucra con las composiciones, el orden de los temas, o solamente con el sonido?
 Puede ser audio, o puede ser todo. 

¿Qué cualidades que tener un artista para que usted lo produzca?
Química humana y musical.

¿A partir de cuando se empezó a interesar por el rol de productor?
Desde antes de saber que significaba producir.


¿Cuáles son los principales puntos a tener en cuenta por un productor?
Ingeniero de grabación, fundamental; buen clima en estudio también, y cosas por el estilo.

¿Tiene que estar a la vanguardia en cuanto al uso de nuevas tecnologías?
Algo sí.

 Teniendo en cuenta su rol de guitarrista en diferentes agrupaciones ¿Le da una perspectiva diferente como productor?
Cuanto más instrumentos se conozcan desde la ejecución, mejor.

¿El trabajo de qué productores admira? ¿Qué discos precisamente?
 T bone burnett, Jimmy Page, George Martin, etc. : adivinen los discos. 

 ¿Qué discos produjo?

 Liese Lange: "agua abrazada"(Montevideo)

 Luis Rodrigo: "El mundo no es un mar de rosas" (Madrid)

 Andy Chango: "Salam Alecun" (Madrid)

 Palo Pandolfo: "Antojo" (Baires)

 Cuino y sus amigos: "Basta cuino" (Baires)

 María Mulata (Chelo Delgado ex La zimbawe): "Cuestión de amor" (baires)

 Superplan: (no editado aún) (Tucumán)

En Co -producción: casi todo Man Ray, “Cataratas Musicales" y "El 5 en la espalda" de los Twist, Entre otros. 
 
Links
http://www.myspace.com/theelectrofreek http://www.myspace.com/aftertango  Tito Losavio

8 comentarios:

Pun-Q-Tan dijo...

In 1982, Tito Losavio (who has
been previously performing as a
freelance musician at ‘El
Papagayo’, brazilean night club,
located near the BsAs ‘Recoleta’
neighborhood in intersection of
Cordoba Ave./Anchorena St.),
formed ‘Biorsi’, a band with
tropical influences.

Although ‘Biorsi’ went through
different formations, the one in
1983 is remembered as the finest
of them all:
Tito Losavio (guitar, vocals),
Adrian Lobato (bass, vocals) - son
of choreographer Eber Lobato and
formerly a member of Ruben
Elena’s argie ‘Hair’ musical - ,
Guillermo Medin (Quistral, Final,
Berklee College of Music 1983
Composition Award, Klhasch)
(keyboards), Juan Manuel
Basavilbaso (percussion) and Pablo
Mendez (drums).

‘Biorsi’ rehearsal space was
precisely at 2452 Paraguay
St. (also near the BsAs ‘Recoleta’
neighborhood) and in the same
block and right opposite to artist
Omar Emir Yaban’s Einstein Cafe,
which at that time was the chosen
place for underground performing
arts. Other artists such as Luca
Prodan (Luca Prodan) and ‘Geniol’
rehearsed there. Although ‘Biorsi’
did some live performances and
played in the Spring’83 Monte
Hermoso Festival, Bahia Blanca
province, they never released their
material.

Simultaneously, ‘Biorsi’ musicians
Tito Losavio, Adrian Lobato and
Guillermo Medin were as well
playing as the support band of
female singer ‘Pinin Folgado’.
Probably is during this period
when Tito Losavio started
developing his compositional trend
of writing tailored songs for soloist
female singers.

Early 1984, keyboardist Guillermo
Medin was hired by mime ‘Olucaro
Ocimotana’ as musical director of
Theatre of The Invisible in Brazil
and since there weren't signs that
‘Biorzi’ would ever reach the pre-
production stage, departed to Rio
de Janeiro.

Some believe Tito Losavio/Hilda
Lizarazu (Hilda Lizarazu) earliest
musical affair started in 1985, in
the midst of ‘Biorsi’ disbandment.
Others instead say ‘Comida China’
(Comida China) was the real
springboard for Hilda Lizarazu’s
singer career, referring to the fact
that she joined this band by the
hand of her boyfriend singer
Miguel Zavaleta (Suéter).

Although is uncertain how did
exactly this cute couple first met,
by 1986 Hilda Lizarazu’s new boy
friend, Tito Losavio, became Man
Ray’s leader and composer at 2170
Humbolt St., the so called
‘Palermo Hollywood’ neighbor-
hood by Real Estate developers.

Undoubtly ManRay’s first album
has the compositional finger print
of Tito Losavio’s ductility for the
Pop/Rock genre: songs are catchy,
unsophisticated and straight
forward, resulting in an overall
well-shaped album, rounded off
with a latin flavour inherited from
his past musical experiences.

While mixing in Studios ION,
between April/May 1988, long time
fellow musician keyboardist
Guillermo Medin was invited to
participate in future ManRay`s
projects. Worked together at their
Humbolt St. place (aka ‘the
bottling district’ because beverage
companies bottled wine in the
surroundings), till Guillermo
Medin returned to Cambridge,
Massachusetts, where he migrated
in late 1979.

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