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Juan Carlos Cambas
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Curriculum He started to study classic piano in 1977 at ‘Carlos López Buchardo’ National Music Conservatory in Buenos Aires. In 1980, he moved to San Antonio de Papua in the province of Buenos Aires and studied at the Provincial Conservatory of Moron until 1983. In 1990, he studied Harmony with Professor Fernando Pugliese. After finishing Architecture in 1992, he took up piano again with Professor Eduardo Spinassi, learning to play the Argentinian folkloric rythms. He also attended a course at Haedo School about the origin of the Argentinian folkloric rythms with the musicologist and director Nora Di Vruno. In 1997, he began to study Harmony and Language at the Conservatory of Morón until 1999.
Work & Activities He participated in the following records and video films: ‘En un remanso de amigos’ - Isabel Basualdo (1992), ‘Viene clareando’ - Coqui Sosa (1992), ‘Siglo de esperanza’ - Coqui Sosa (1993), ‘La vieja ausencia’ - Néstor Basurto (1995), ‘Retratos sonoros’ - Gustavo ‘Cuchi’ Leguizamón (1995), ‘Retratos sonoros’ - Adolfo Ábalos I and II (1995), ‘Clásicos y sueños’ - Coqui Sosa (1996), ‘María de los Ángeles va a la escuela’ - María de los Ángeles Ledesma (1997), ‘María de los Ángeles Ledesma y cosecha de agosto’ - María de los Ángeles Ledesma y cosecha de agosto (1998). He also participated in the video of the programme ‘Mano a mano con el campo’ by Luis Landriscina and recorded his music for the open Argentinian radio and TV (1999), ‘Canto de nadie’ - Suma Paz (2000) as general producer, ‘Última guitarra’ - Suma Paz (2001) as general producer - Ediciones Corregidor, ‘Campana de palo’ - Suma Paz – (2002) as artistic producer and musician playing ‘Pampa escondida’. He also participated in the video of the Fourth Internacional Festival of Tradicional Music, ‘El Món en el Poble’ (2003), Agullana – Girona (Spain), three themes of his performances live representing Argentina.
In 1997, he edited his first record (‘Sólo luz’) in Argentina with Diapasón S.A. These are some of the most important musicians that participated in this record: Suna Rocha, Raúl Carnota, Domingo Cura, Guillermo Chaves, María de los Ángeles Ledesma, Coro Turma Vocalis, Eduardo Spinassi, Rodolfo Sánchez and Miguel Ángel Gutiérrez, among others. In 1999, he started ‘Almas en el viento: con los grandes de Argentina’ in Buenos Aires, his second record. Important Argentinian artists were invited to participate in this record: Mercedes Sosa, Suma Paz, China Zorrilla, Jairo, Luis Landriscina, Jaime Torres, Eduardo Lagos, Domingo Cura, Raúl Carnota, Abel Pintos, Popi Spatocco, Mónica Abraham and María Lombas, among others.
Performances in Spain: Casa da Xuventude, Lalín - Pontevedra (May 2004), ‘Los Abetos’ Hotel, Santiago de Compostela - A Coruña and Liceo Casino, Vilagarcía de Arousa – Pontevedra (June 2004) and Fourth Internacional Festival of Tradicional Music, ‘El Món en el Poble’, Agullana – Girona (August 2003).
Performances in Argentina: Baradero Festival; San Martín Theatre; A - B Room of San Martín Cultural Centre, invited by Eduardo Lagos; Centenary Park; A.T.E. Auditorium; Teatro Ideal - Venado Tuerto - Santa Fé; in the homages paid to Atahualpa Yupanqui in APTRA and the Royal Theatre of Cordoba; Ricardo Rojas Cultural Centre; 20 de Febrero Square and Alvear de Ituzaingó Square; ‘Salón Dorado’, La Plata; Merlo’s Theatre; ‘Promúsica’; ‘Dirección de Cultura’, Baradero; ‘Sala A – B’, San Martín Cultural Centre; in the festival in aid of Benavides, invited by Luis Landriscina, at ‘Leopoldo Marechal de Moreno’ Theatre, La Plata; Trabún '98 Festival, San Martín de los Andes; ‘Radio Nacional’ and local radio stations; ATC; Utilísima Satelital; Crónica TV; Argentinísima Satelital; Canal Rural; TVA, etc...
Other Interesting Aspects He was finalist in the ‘Cosquín '94’ Festival as instrumental soloist, won the ‘Baradero '95’ Fetival as instrumental soloist and got the diploma of the 8th, 10th, 11th and 12th edition of the Tradition Family Party (1997, 1999, 2000 and 2001), Libertad for participating in the cultural activities and contributing to the strengthening of our families. In November 2000, his CD ‘Almas al viento’ was considered as ‘cultural interest’. That same year he got a special mention of the ‘Instituto Histórico Belgraniano de Ituzaingó’ as a recognisement of his presence at the Italian Association of Ituzaingó. In 2003, his friend, the Pampean singer and poetess Suma Paz, who is considered to be the follower of Atahualpa Yupanqui, dedicated him the poem ‘21 de Marzo’. At the beginning of 2004, the Argentinian guitarist and composer Silvio Fraga composed a zamba (‘La distanciada’) in his honour. He was also awarded a plaque of the Lyceum of Vilagarcía de Arousa commemorating the events of the Centenary 2004 and the journalist Emilio Pedro Portorrico included him in the last edition of his ‘Diccionario Biográfico de la Música Argentina de Raíz Folklórica’ (2004).
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