Oscar Alemán - Eternamente Vivo!

During the 1960s and 1970s Oscar Alemán was featured from time to time in various radio and TV programs in Argentina. No new recordings had been released since late 1950s when he dissolved his Orchesta de Jazz and the contract with Odeon ended, however, there was made some studio recordings mid-1960s in a new quintet setting as OA y sus Cinco Caballeros, but these recordings were not released until made available on LP late 1970s. Accordingly, collectors of Alemán's recorded output have had to accept a gap from 1957, when the last recordings by Odeon were made, until 1972, when the small Redondel label released new recordings by OA. Fortunately, keen collectors in Argentina have taped extracts from OA's live-performance in radio, TV and public venues from this period, and these tape recordings are supplemented by recordings from Alemán and close friends' own tape collections - previously circulating among collectors, but never issued by a regular record company. A selection of this material has now been released on a double cd by the Fonocal label (FONOCAL 24 1/2) with the title Oscar Alemán - Eternamente Vivo. The 2 cd-set was compiled by Daniel Cossarini and Edgardo "Nano" Suárez from material kindly made available by Estanislao & José Iacona, Jorgelina Alemán - grandniece of Oscar Alemán and succesfull singer - wrote the sleve notes and further contributes with a vocal version of "Stardust" in an overdub of the original Odeon recorded 26 October 1944 as "Polvo de Estrellas" by Oscar Alemán y su Quinteto de Swing.

The two cds contain 34 tracks from OA's live-performances remastered from taperecordings of varied audio quality. Unfortunately, no exact info about the source material regarding dates and circumstances is given in the sleve notes, but the tracks are a mixture of recordings from radio, TV and live concert supplemented with a couple of private home recordings.Discographers may have a hard time locating these recordings, but some help can be found in the OA online discography, if you consult the pages covering the period from 1965 and on including the pages having info on undated recordings and material from OA's own tapecollection.

The repertoire chosen for the two cds is a mixture of genres, some tunes are well known from OA's officially recorded output such as "Sweet Georgia Brown", "Tea For Two", "St Louis Blues", "Tengo Ritmo" etc., however, here you have new versions with focus on OA's solo efforts and ability to improvise - a great supplement to the studio takes and a goldmine for listeners, who would like to explore OA's guitar style. There are also tracks containing tunes OA never recorded officially, i.e. pop-tunes like "La,La,La" and "Dang dang", further a couple of surprises -: OA singing French chansons accompanied by his own great guitar arrangement! Highlights among the mixture of tunes count live solo versions of "Man of Mine", "La Cumparsita" and "St Louis Blues", further the tracks recorded at two live concerts 1971 at 'Teatro del Buen Aire' featuring OA accompanied by Guillermo José Iacona on rhythm guitar - especially a great version of "Cuando los santos vienen marchando" is worth mentioning, as this version later was to be recorded in a similar version on the Alemán 72' LP by Redondel, a true tour-de-force in improvising and exploring the dixieland anthem "When The Saints Go Marchin' In". There are also several tracks on the two cds almost spoiled by bad audio quality, mainly airshots from programs at Radio El Mundo c.1967, and the low-fi audio quality also continues in the taped audio from TV performances. However, these tracks give the listener an impression of the excitement and the warm applause that wellcomed OA during his public performances in the 1960s and 1970s, here the showman is in focus and this material is evidence that he could still catch the audience with wit, humour and great playing despite often accompanied by musicians not reaching his own high standard. - Some examples of TV performance containing only the audio have been uploaded at YouTube, below I insert one of them to give you an impression of the old master at work - enjoy this version of "Tengo Ritmo" from a Canal 9 program, "Sabados de la Bondad", hosted by Hector Coire



The last track on disc 2 is a trick or stunt recording, as you have Jorgelina Alemán singing the English lyrics of Carmichael's "Stardust" in an overdub of the Odeon recording of "Polvo de Estrellas" by Oscar Alemán y su Quinteto de Swing originally recorded on 26 October, 1944. According to Jorgelina's notes, the idea of this experiment is inspired by a similar experiment made by singer Natalie Cole, who honored her father, Nat King Cole, adding her vocal to a record made before he passed away. You may like or dislike this kind of experiment, but as a tribute to a star and as a way of expressing inspiration, continuation of tradition and family bonds, you may also consider it as an example of true admiration and gratitude. The studio take of this experiment has also been uploaded at YouTube and is inserted below - Jorgelina Alemán with OA y su Quinteto de Swing:



On the 20th this month OA would have turned 103 years old, an excellent way to celebrate this incomparable master of swing is to load the Eternamente Vivo 2 cd-set in your cd-player. Get it from Amazon or other online stores, the supplies may be limited. - To end this small review I insert another YouTube video featuring the audio of a live performance at TV, this is taped from a Canal 9, 'Sabados continuados' program hosted by Leonardo Simons and aired on the 2oth of February 1970, OA is accompanied by the orchestra of Santos Lipesker in a version of "Moritat" (aka "Mack The Knife") followed by the orchestra's 'Happy Birthday'



Thanks to Daniel Cossarini and Jorgelina Alemán for forwarding a free copy of the reviewed 2 cd-set!
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Jo

Oscar Alemán - Con Ritmos de Brasil

Oscar Alemán: His Brazilian Rhythm - Tony Vardé (English) Oscar Alemán: Con Ritmos de Brasil - Tony Vardé (Español) Oscar Alemán: Zijn Braziliaanse Ritmen Tony Vardé (Nederlands)

Debo confesar que la música brasileña nunca me ha conmovido en lo mas mínimo. A pesar de sus raíces afro, nunca me han llegado Vinicus, Caetano, o Jobim. Algo de Stan Getz puede ser lo mas cercano que me ha hecho mover la patita, pero en general, la bossa nova y sus derivados me aburren. Hasta que un día, mi amigo Flavio, consiguió hacerme cambiar de parecer, al menos por un rato. Le regaló a mi hija un cd titulado Oscar Alemán y su conjunto - Con ritmos de Brasil. Ya que mi hija no estaba en ese momento apta para poner el cd por si sola, me vi forzado a hacerlo yo mismo, y a escucharlo con ella. Tan grata fue mi sorpresa al escuchar el álbum, que en esta entrada de Escuchate Esto! le hacemos lugar a la música brasileña, aunque esté interpretada por un argentino. Y todo gracias a mi amigo Flavio. Negra de Cabello Duro - Oscar Alemán y su Quinteto de Swing. (Odeon 74037) (7 de Setiembre de 1943) (Oscar Alemán Discography - Hans Koert)
Oscar Alemán, es ese hombrecito delgado, de piel mulata y bigotes, cabello crespo con gomina, gafas de carey y cadencia caribeña, que podía tocar la guitarra, bailar y zapatear, cantar y monologar, todo bien y al mismo tiempo. Proveniente de una familia de músicos, Oscar nace el 20 de Febrero de 1909, en Machagai, Chaco y a los diez años, ya se encuentra lustrando botas cerca del obelisco. Alguien le acerca un cavaquinho, pequeña guitarra de cuatro cuerdas, y se inicia así su carrera artística. Alrededor de 1926, toca, de manera profesional, en cafés y clubes nocturnos, junto a Gastón Bueno Lobo, otro guitarrista con quien forma el dúo "Los Lobos", abarcando géneros variados. Incluso se llegan a presentar en New York como guitarristas Hawaianos. Incursiona en el tango, vinculándose con Agustín Magaldi y Enrique Santos Discépolo. Viaja por tierra brasileña y otras latitudes sudamericanas y es ahí cuando comienza a crearse esa mezcla de ritmos y sabores dentro de su arte. Oscar Alemán.
La troupe de Baker Esta mezcla crece aun mas cuando viaja a Europa, en 1932 la artista de varieté Josephine Baker lo ve actuar y lo contrata como guitarrista estable de su orquesta. Permanecen juntos hasta 1940, cuando la la invasión alemana llega a París. Oscar permanece en Europa, donde conoce a Louis Armstrong y Duke Ellington. Pero es Django Reinhardt, quién le produce la revolución final en su sonido y toque guitarrístico. Ambos se admiran y respetan, comparten sesiones e improvisaciones. Antes que T-Bone Walker o Jimi Hendrix, Oscar Alemán impuso el hábito de tocar la guitarra sobre las espaldas. De vuelta al país, logra un éxito con “Rosa madreselva”. Alterna su vida entre Brasil y la Argentina, y graba en ambos países. De este período es de donde sale el álbum al cual hacemos nos dedicamos en esta entrada. Oscar alemán fallece el 14 de Octubre de 1980 en Buenos Aires. En el disco, los temas vienen mezclados, pero nos pareció conveniente hacer una diferenciación entre las 2 etapas en las que se grabaron los temas, tanto desde lo cronológico, como desde la formación. Entre 1943 y 1947 a Oscar lo acompañaba el “Quinteto de Swing” (eran mas de cinco) y entre 1951 y 1957, la “Orquesta de Jazz”. En el disco, los temas tienen la particularidad de específicar a qué ritmo pertenecen. Vanidosa - Oscar Alemán y su Quinteto de Swing (Odeon 22309) (24 de Enero de 1947) (Oscar Alemán Discography - Hans Koert)

Elegimos poner en primer en primer lugar Negra de Cabello duro, ya que durante el primer minuto, Oscar alemán ya nos muestra de qué madera está hecho. Y también canta. Tico Tico No Fuba es un instrumental con aires de milonga, en el que podemos escuchar su virtuosismo. En estos dos temas de 1943 abundan los yeites “a lo Reinhardt”. La primera mitad de Yo Vi Un Leon esta cantada en portugués y la segunda mitad en castellano. Es aquí donde Oscar Alemán hace gala no solo de su swing, sino de su histrionismo y comicidad. Melancolía es un samba instrumental que suena misterioso. En Apanhei Te Cavaquinho se da un riquísimo contrapunto entre las guitarras, mientras que el piano es el que lleva la armonía. El violín lidera por primera vez en Vanidosa, lo cual nos remite mas que nunca al Hot Club de Francia de Reinhardt y Grapelli. Eu Vi Um Leâo - Oscar Alemán y su Quinteto de Swing ( Odéon 45973) ( 27 de Junio de 1944) ( Oscar Alemán Discography - Hans Koert )
La segunda parte del álbum, tiene mas baiones y sambas. Delicado, de 1951 es pura proeza guitarrística; y Pa pa pa, compuesto por Alemán, es de los más dulces del disco, tanto en la frase y el solo de guitarra, como en la voz. En mi casita pequeña un samba abolerado, podemos encontrar mas presencia de cuerdas, piano y coros. Saudades es otro instrumental para disfrutar la guitarra de Oscar de principio a fin.
Delicado - Oscar Alemán y su Conjunto de Jazz ( Odeon 55318) (26 - 31 de Octobre de 1951) ( Oscar Alemán Discography - Hans Koert)

Uno de los 3 temas compuestos por Alemán en esta compilación, en este caso junto a José Romero, es Mi amigo. En este samba de 1954 se percibe por primera vez en todo el álbum, la guitarra eléctrica. Yo soy de Río, otro samba pero más festivo, nos deja un solo de guitarra eléctrica con algo de distorsión donde Oscar muestra su velocidad. Conceicao tiene como protagonistas a los vientos, las cuerdas y la voz. Por último, Dedos Duros, de autoría de Alemán, comienza con las cuerdas trazando un complejo hilado por donde la guitarra se va deslizando, y por la mitad de la canción, la cosa se revierte, y es la guitarra quien nos va llevando por veloces caminos. Cronológicamente es el último tema grabado, en el año 1957, y curiosamente funciona muy bien como cierre de la colección.
Les dejo este gran disco, que puede ser muy útil para quienes son ajenos al gran Oscar Alemán, el mejor guitarrista argentino de la historia.
Tony Vardé ( Argentina) ( Escuchate esto!)

Thanks Tony for this review and introduction to Oscar Alemán and his Brazilian rhythms. Love to share the tune Melancolia, as played by Oscar Alemán y su Quinteto de Jazz ( September 1945) and one of the tracks on this great compilation.

Hans Koert
oscaraleman@live.nl

Oscar Alemán - His Brazilian Rhythms

Oscar Alemán: His Brazilian Rhythm - Tony Vardé (English) Oscar Alemán: Con Ritmos de Brasil - Tony Vardé (Español) Oscar Alemán: Zijn Braziliaanse Ritmen Tony Vardé (Nederlands)

I must confess that the music from Brazil has never fascinated me at all. In spite of it's afro roots, Vinicus, Caetano, or Jobim have never entertained me. Stan Getz might make my feet move, but generally bossa nova and other Brazilian music styles like that, make me boring. Until one day my friend Flavio made me change my mind, at least for a while. He made a present for my daughter, the cd “Oscar Alemán y su conjunto - Con Ritmos de Brasil”. My daughter wasn't able to play the cd herself (she was one year old), so I played it myself. I became fascinated by it and decided to take some time and write about this album of this genius at the guitar Oscar Aleman. For me, his music on this album, opened the door to Brazilian music, although it's played my an Argentinean jazzman.
Negra de Cabello Duro - Oscar Alemán y su Quinteto de Swing. (Odeon 74037) (7th of sep. 1943) (source: Oscar Alemán Discography - Hans Koert)
In the album edited in 2002 entitled Oscar Alemán y su conjunto - Con Ritmos de Brasil, the tracks are mixed. I thought it was convenient to make a difference between the two periods in which they were recorded. Between 1943 and 1947, Oscar was accompanied by the “Quinteto de Swing” (they were more than five) and between 1951 and 1957, the “Orquesta de Jazz”.
Oscar Alemán promo photo. (1950s)I choose in the first place "Negra de Cabello Duro", because during the first minutes of the song, Oscar Alemán shows us his skills as a guitar player. And he also sings. “Tico Tico No Fuba” is an instrumental in Milonga style, in which we can listen to all his virtuosity. In this two tracks from 1943 there are lots of Reinhardt's licks. The first half of “Yo Vi Un Leon” is sung in Portuguese and the second half in Spanish. Here, Oscar Alemán shows that he can swing. “Melancolía” is an instrumental samba that sound mysterious. In “Apanhei Te Cavaquinho” we can find a very rich counterpoint between the guitars, while the piano takes the harmony. The violin leads for the first time in “Vanidosa”, which reminds us more than ever to Django Reinhardt and Stephane Grappelli.
Vanidosa - Oscar Alemán y su Quinteto de Swing (Odeon 22309) (24th of Jan, 1947) (Source: Oscar Alemán Discography - Hans Koert)
The second part of the album, includes more baiones and sambas. “Delicado”, (1951) its a pure guitar instrumental and ”Pa pa pa”, written by Alemán, is one of the sweetest of the whole record. “Mi casita pequeña” it where the samba meets the bolero, and we can find more presence of the strings, piano and chorus. “Saudades” it's another instrumental to enjoy Oscar's guitar from the beginning to the end.

Eu Vi Um Leâo - Oscar Alemán y su Quinteto de Swing ( Odéon 45973) ( 27th of June, 1944) ( Source: Oscar Alemán Discography - Hans Koert )
One of the three compositions by Alemán in this compilation, this time together with José Romero, is “Mi amigo”. In this 1954 samba, we can hear for the first time the electric guitar. “Yo soy de Río”, another samba but more festive, brings us an electric guitar solo with a little distortion where Oscar shows his speed. “Conceicao” is mostly a song with horns and strings.

Delicado - Oscar Alemán y su Conjunto de Jazz ( Odeon 55318) (26 or 31 October 1951) ( Source: Oscar Alemán Discography - Hans Koert)

Last but not least, "Dedos Duros”, also an Alemán's song. It starts with the strings drawing a complex surface in which the guitar goes searching for spots to play, and by the half of the song, everything goes upside down, and it is the guitar who takes us trough fast roads. Chronologically is the final song of the whole recording (1957), and curiously, it works just fine as close for this compilation.
Tony Vardé ( Argentina) ( Escuchate esto!)

Thanks Tony for this review and introduction to Oscar Alemán and his Brazilian rhythms. Love to share the tune Melancolia, as played by Oscar Alemán y su Quinteto de Jazz ( September 1945) and one of the tracks on this great compilation.


Hans Koert
oscaraleman@live.nl

A Danish HMV catalogue

On the 5th of December, 1938 Oscar Alemán and Bibi Miranda recorded with Svend Asmussen and his Quartet two sides, which would become known and labeled as the Jam Session. Two other solo recordings by Oscar Alemán were released on HMV too.
The 1938 Danish recording band: f.l.t.r. Leo Mathisen piano, Bibi Miranda drums, Svend Asmussen violin, Oscar Aleman guitar
In a previous blog about this special recording session and in a contribution entitled Jam Session I wrote about this recording session: In 1938 he ( =Oscar Alemán) visited Copenhagen with the Josephine Baker revue and some members of the Baker Boys like Bibi Miranda, who was the drummer. The other musicians for the band were selected in Denmark; members of the Svend Asmussen Quartet - a promising young group in the Copenhagen jazz scene. When the show was over, Josephine left for Stockholm, the next stop of the tour, but Oscar and Bibi stayed in Copenhagen for some days and joined Svend, who invited them to be present at a recording session on the 5th of December. Both Oscar and Bibi joined the band during the recordings in a jam session which was later released on Danish HMV as a Danish Jam Session. Oscar played two solo tunes, he also performed on stage: Nobody's Sweetheart and Whispering. ( Hans Koert)
Danish HMV catalogue ( 1939) ( collection Rene Aagaard)
Thanks to René Aagaard I can share with you part of a 1939 Danish HMV catalogue with those two records listed. The Danish text reads (in translation):
In Josephine Baker's ensemble you noticed - during the visit last Fall - especially the guitar-player Oscar Aleman and the percussionist Bibi Miranda - the last one you also will remember with joy from Ciro Rimac's Cuban Orchestre in Nørrebros Teater (a theater in Copenhagen). (translation: Rene Aagaard)
Septeto Anacaona with Ciro Rimac ( late 1930s)
Ciro Rimac was the leader of a group entitled Septeto Anacaona, a seven-piece, all-girl band which was very popular during the late 1930s in South America and which visited Denmark ..... It was a string band with some woodwind instruments. According to the catalogue Bibi Miranda performed as a percussionist during the Danish tour. Ciro Rimac, who was the vocalist, was an international star and the protégée of Cab Calloway.
Part of a reissue cd by Ciro Rimac musical legacy.
The catalogue continued ( in translation): Her you will find a record by these two jazzmusicians, who's superior musicality probably will bring their names out to all interested in jazz. (translation: Rene Aagaard)
An interesting book about the Septet Anacaona was released in German Anacaona. aus dem Leben einer kubanischen Musikerin - Alicia Castro (2002) and Dutch: Anacaona: Het bewogen leven van een Cubaanse muzikante en haar salsaband - Alicia Castro (2006) informs about its career.
Thanks Rene for sharing this great part of the 1939 Danish HMV catalogue
Hans Koert
oscaraleman@live.nl
Oscar Alemán discography

Oscar Alemán - New Publications

Recently José Iacona sent us an unknown picture from Oscar Alemán with the Argentine vocalist, lady crooner, jazz singer of the bossa nova, Egle Martin, which must have been taken in Buenos Aires during a concert. She was popular during the 1950s or 1960s and seems to be still active nowadays. As far as we know they never recorder together.
A young Oscar Alemán (photo courtesy: José Iacona)
José Iacona informed me that his father Guillermo Iacona, who played with Oscar Alemán during the 1970s, recently passed away. Guillermo, who was a guitar player too, had almost finished his lifework, a biography of Oscar Alemán, the legendary Argentine guitar player which he adored so much. José informed me that he and his brother Estanislao have finished the manuscript, which describes the life of Oscar Aleman in English, French and Spanish and he hopes to have it printed and distributed very soon. The book will be entitled: Tributo a Oscar Alemán.
The guitars of Charlie Christian - Robert Normann - Oscar Alemán - Jan Evensmo (1976) ( collection: Jørgen Larsen)
Books about Oscar Alemán are rather rare and so was info about his life, especially for those who don't live in Argentina and not familiar with the Spanish language. One of the first books to be published in English was a book in the Jazz Solography Series of Jan Evensmo, a Norwegian record collector and jazz historian, a jazz archaeologist, as he labels himself. The small booklet contained a selected discography of Charlie Christian, the bebop pioneer on the electric guitar, Robert Normann, the Norwegian Hot Club guitar player, world famous in Scandinavia (but fully neglected in the rest of the world) and Oscar Alemán. This solography contained a review of some of their recordings, available in Europe. This book, which was published in 1976, is out of print now. The chapter with the Oscar Alemán solos (BTW: no transcriptions!) was limited to the European part of his career, the 1930s, because Jan didn't had access to the musical heritage of Oscar in Argentina, made between 1941 up to his death in 1980. The Rediscovery of Oscar Alemán project, a research project by Hans Koert and Jørgen Larsen, finally opened the door for a "rediscovery" of Oscar Alemán's musical heritage both in Europe as in Argentina. The Oscar Alemán discography - Listatdo de temas - a discography - una discografia (2005) by Hans Koert finally made the info about all Oscar Alemán's recordings available and for the first time his life was told in English to the rest of the world. The Oscar Aleman weblog , you visit now, is a forum for all Oscar Alemán fans.
Oscar Aleman -late 1940s - early 1950s
The Oscar Alemán Discography is now available online and recently Jan Evensmo published a revisited version of his Solography about Oscar Alemán, which includes now a re-written biography by Hans Koert and Jørgen Larsen and reviews of Oscar's recordings both released in Europe and South America. You can find a link to this and more uploads at Jan Evensmo sites.

Hope to be able to review soon the Oscar Alemán Biography by the late Guillermo Iacona, finished by his sons José and Estanislao Iacona.

Hans Koert
oscaraleman@live.nl

Les Loups - "Criollita"

Gastón Bueno Lobo and Oscar Alemán teamed as a duo and had their professional debut in Rio de Janeiro mid-1925. After a tour of Brazil they arrived in Buenos Aires 1926 and soon had success as featured artists in various theatres and other venues labeled as 'Hawaiian Guitarists'. The duo also was featured in radio programs and in 1927 they signed a recording contract with Victor. In December 1927 the first 78 rpm by the duo labeled as Les Loups was recorded and released on Victor 79968 - the A-side containing the tango "Hawayanita", a composition by GB Lobo, the B-side had the waltz "Criollita", also a composition by GB Lobo as shown on the label above. While "Hawayanita" is played in the popular hawaiian style of the time with Lobo as featured soloist and Alemán providing accompaniment on second guitar, "Criollita" has Lobo playing the cavaquinho and again Alemán providing solid accompaniment on guitar. The cavaquinho is the Brasilian ukulele- like small 4-string guitar regularly used by choro and samba ensembles - and the first instrument Alemán learned. The cavaquinho has a more spruce and bell-like sound than a regular guitar with steel strings due to its small size. - The recording of "Criollita" is the only time a cavaquinho is used by Les Loups on a record, and the reason for that may depend on the fact that the tune "Criollita" resembles a traditional Brasilian choro. The two-part melody is performed in a way that re-creates the atmosphere of a small choro ensemble - the lead is played straight and repeated, but the accompaniment provided by Alemán's guitar leaves space for rhythmic improvisation and adds elaborate bass line modulation - a feature tightly connected with choro performed by string ensembles. This specific recording reminds the listener that Alemán's musical foundation is rooted in the Brasilian musictradition of choro and related styles. - Here's a video with the audio of "Criollita" uploaded at YouTube



Jo

oscaraleman@live.nl

Primer Festival de Jazz Oscar Alemán

Earlier this month the Culture Department of Lanús (Argentina) organized the city's first jazzfestival in honor of Oscar Alemán. Lanús is a town where Oscar Alemán lived with his wife, the actress Carmen Vallejos, during a period of ten years. The festival was scheduled at the 8th of May and had presence of various bands. Special guest performer was Jorgelina Alemán - grandniece of Oscar Alemán - with her band. The festival was a success with the audience and finished with the presentation of an official tribute to Oscar Alemán from the Mayor of Lánus.

Singer Jorgelina Alemán and her band closed the festival. Her band members are her husband Daniel Cossarini (piano,director), Juan Martinez (guitar), Ezequiel Rivas (bass), Willy Bozas (drums) and special guest Juan Manuel Miguez (guitar) - great grandson of Oscar Alemán. The concert by Jorgelina and band included performance of tunes from both her own and Oscar's repertoire and was a great success with the audience.

The actress Carmen Vallejos, Oscar's widow, was present at the concert and was called on stage to recollect memories of the time, when she and Oscar lived in Lanús. She entertained the audience with humourous anecdotes and received appreciation and a big applause.

To finish, the Director of Culture, José During representing the mayor, Dr. Darío Díaz Pérez, gave Carmen Vallejos a plaque in tribute to Oscar Alemán, the official appreciation of the city of Lanús.

It's great to learn that the name and legacy of Oscar Alemán is appreciated and honored in Argentina through events like the 'Primer Festival de Jazz Oscar Alemán' in Lanús.

Thanks to Daniel Cossarini and Jorgelina Alemán for sharing photos and info used in this entry.
Some of the photos above were shot by Claudio Martinez.

Jo