2024-11-24 19:23:00
Chaqueño Palavecino looks back in an interview celebrating 40 years of career sound What were his first experiences at the two most important music festivals in Córdoba and in the country: Jesus María and Cosquin?
interview. Chaqueño Palavecino, who can take away what has been sung: 40 years later I still ask how the job was
“These two festivals are very important, they are two different things,” said Chaconio, before spending a few minutes recalling images full of anecdotes and moments.
“Koskin is a festival of singers, musicians and folklorists, and everyone, all folklorists want to go there and sing,” he said. “For my part, I was always looking for where to stop, where to pitch a tent, and we even lined up to sing in some clubs. A little more and we would have kept our distance, I swear. There were so many of us, the whole country Came to Koskin,” he recalled of the period from the mid-1980s to the early 1990s.
“It’s been years since I’ve hunted a dove,” he added humorously. “But in ’92 we went with Los Nocheros, Jorge Rojas (who was with the Los del Cerro duo), Los Sauzales and a delegation from the north of Salta.” With this background, Parrave Sino then had the confidence to show up at the festival and get a spot on the show.
“I went to the Cosquin Council and asked them if they could give me a chance alone,” he said of the persistence behind Plaza Prospero Molina. “There was a lump. We had to set up a big percussion set, and that took time. I was right there, so within seconds I had the hanky knots tied for the musicians. We started doing two songs and the crowd was pretty explosive .TV was very important at that time and the whole country and other countries watched it and we were going well.
“The Feast of Jesus and Mary is another festival I passed by on the bus and saw so many people we couldn’t get through. One day I will attend this festival,” he said. “Dreams…” he pointed out with a hint of nostalgia.
“I stopped at[Hugo]Bardo’s place, he was the president of the festival. He had elastic bands on the buses. I would get off and say to him: ‘I am so-and-so and I will leave you a Let’s build a small house and see if one day…’” he recalled arriving at another place. This holiday defined him and houses another of his most famous postcards. Every year, Palavesino would ride there with his troops, which summed up the spirit of Jesus María.
“As time went on, more and more singers joined in, but this was a festival where Creoles, people from the countryside kept score like a football championship,” he said of the horseback riding. “The song was sung twice, once on TV and once in the credits. I don’t remember if it was ’92 or ’93,” he said of his performance in Jose Hernandez. added the amphitheater premiere, emphasizing: “Next, I never stopped. “It’s been more than 30 years. “
“For years I would do the Tuesdays when (Horacio) Guarani left. Then it was Fridays, then they took me to Sundays, and now it’s Fridays again,” he said of Jesus Maria in each new release one of the special rituals. “In the same place we arrived, the guitar recital continued. “The house in Colonia Caroya became famous,” el Chaqueño concludes.
Chaqueño Palavecino comes to La Voz to reflect on the past, present and future of a career spanning more than 40 years. (Javier Ferreira/The Voice)
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How has the evolution of music festivals in Argentina influenced Chaqueño Palavecino’s artistic journey over the past 40 years?
**Interview with Chaqueño Palavecino: Celebrating 40 Years of Music**
**Interviewer**: Thank you for joining us, Chaqueño Palavecino! This year you celebrate 40 years in the music industry. Reflecting on your journey, can you share your earliest experiences at the iconic Cosquín and Jesús María festivals?
**Chaqueño Palavecino**: Thank you for having me! Those festivals have held a special place in my heart. Cosquín, in particular, is like a pilgrimage for singers, musicians, and folklorists alike. I remember vividly how, back in the 1980s and early ’90s, I would camp out, searching for any spot to fit in. The excitement was palpable; everyone from the whole country came to Cosquín, and we often had to queue for a chance to perform.
**Interviewer**: It sounds like a very competitive atmosphere. What stands out most about your first performances there?
**Chaqueño Palavecino**: Ah, it was a mix of anxiety and thrill! In 1992, I was with groups like Los Nocheros and Jorge Rojas. I approached the Cosquín Council, asking for a solo spot. They finally gave me the chance, which felt surreal. Setting up was a race against time, and the audience was explosive when we finally hit the stage. Those moments were crucial, caught by television and reaching audiences far and wide!
**Interviewer**: And what about your aspirations for the Jesús María festival?
**Chaqueño Palavecino**: Jesús María is another beast entirely! I had dreams of attending; I’d pass by on a bus seeing crowds so large we could hardly move. I remember once stopping at the president of the festival’s place and thinking, “One day, I’ll show them what I can do.” Those early aspirations fueled me, and they still resonate with me today.
**Interviewer**: As you look back, what do you feel has changed in the music scene over the years?
**Chaqueño Palavecino**: The landscape has evolved immensely. Back then, we were discovering ourselves and our art, coming together as a community of folk musicians. Now, there are more platforms and opportunities for artists, but that grassroots connection—the feeling of singing by the fireside—sometimes feels lost in the rush. Music remains, however, a wonderful vehicle for storytelling and sharing our roots.
**Interviewer**: Thank you, Chaqueño, for sharing these insights. Here’s to many more years of your music!
**Chaqueño Palavecino**: Thank you! I’m just grateful to continue sharing my journey through song.
This interview captures Palavecino’s reflections as he commemorates his lasting impact on Argentine folklore, highlighting both nostalgia and the evolution of music festivals in Argentina.
