Of the 2, who typically appeared like one, he was maybe probably the most daring. Whereas Braulio López, the opposite Olimareño, by no means distanced himself from the wealthy essence of the duo, José Luis “Pepe” Guerra appeared for different paths. He tried, at the very least. Properly into his exile as a result of Uruguayan dictatorship, for instance, he began singing tangos, as recorded in Conversando con el tango, an album printed and welcomed in Spain. He then weathered the separation of the duo on the daybreak of the ’90s by means of albums equivalent to El que somita su corn, Corazón del sur, or Gardel, posta, posta, which didn’t essentially mark an aesthetic continuation together with his previous. Somewhat, an autonomous manner of doing issues. Product of tango, but additionally of the very assorted ways in which he had of approaching milongas, candombes, chamarritas, or every other Creole style he confronted. Guerra, who died on Thursday the thirteenth on the age of 80, even had satisfaction that was uncommon for musicians from inland, equivalent to being completely happy to be instructed that he was a Uruguayan Rolling Stone.
For that reason, regardless of the most cancers that has simply taken him, the robust mark left by the opposite nice “Pepe” of Uruguay within the music reminiscence of the Río de la Plata might be unstoppable. It is going to be way more so, in fact, for having been the opposite a part of Los Olimareños, a duo that knew document a whopping nearly 50 albums in 30 years. And never simply something, in fact. With out the highly effective interpretation of “A Don José” – the Artigas aestheticized by Rubén Lena that ended up being legitimized as a Uruguayan cultural anthem – most likely a very good a part of the cisplatino individuals wouldn’t be capable of retain of their souls the brown, indigenous part that animated the feat of the nice Artigas. With out “El earano”, by Serafín García, which Cafrune propagated in direction of the west of the river, maybe the Uruguayan individuals would have been left with out their Martín Fierro. With out the highly effective interpretation of “Los dos gallos” – to finish a forceful triad – a vital music of insurrection would have diminished, in grey instances.
If “Pepe” and Braulio had not sung these key items –and a number of other more-, the dictatorship wouldn’t have been merciless to them to the purpose of exiling them, like Zitarrosa and so many others, throughout the twelve-year night time that it coated with its mantle. of terror to the celestial nation. They’d completed one thing, then, in order that the Centennial of a Thousand Battles succumbed to individuals, tears and feelings, throughout the duo’s return to the nation, in 1984. “That is sufficient for me. I giggle at demise,” Guerra had exactly stated, when Uruguay surrendered at his ft.
Simply glimpses of a way more intense life, which got here to the world in October 1931, in Treinta y Tres Orientales, on the banks of the Olimar River, one thing just like the geographical epicenter of Uruguayan people music. That he grew up taking a look at these waters and imagining sounds by means of a hand-crafted guitar. The identical one which performed methods on him when he made his public debut in school, on the age of 8, whereas dealing with a smiling efficiency of “Luna tucumana”. That he then he did all of the above. Sufficient to stay in thousands and thousands of hearts that start to overlook him.
