Carlos Gardel, o maior astro do Tango deixou um legado de curiosidades e muitas histórias enigmáticas. Nos 90 anos sem Gardel, apresentamos uma série especial com áudio colunas sobre a vida desse astro, que canta cada vez melhor.

90 anos sem Gardel na Radiosul.net, no YouTube e no Spotify 

Produção e apresentação Fábio Verardi


90 Anos Sem Gardel #5 - A Morte de Carlos Gardel

90 Anos Sem Gardel #6 - O Encontro de Carlos Gardel e Charles Chaplin

90 Anos Sem Gardel #8 - Gardel e seu encontro com o Tango

Gallop to the Unseen unfolds like a journey across open ground, measured at first, then growing with momentum until every note feels alive with motion. The piece begins in quiet focus, the oud tracing a solitary line that feels like the first step onto an unknown path. Its phrasing is deliberate, searching, touched with the light of anticipation.

Gradually, a rhythm stirs beneath, not forceful, but insistent, as if distant hoofbeats are forming somewhere beyond sight. The violin enters beside the oud, not as an echo, but as a companion, their melodies moving in step, sometimes merging, sometimes pulling apart like riders keeping parallel pace. Together they create a sound that breathes and moves like a living landscape.

As the music grows, energy replaces hesitation. The rhythm steadies, the melody begins to lean forward, and the interplay between oud and violin turns spirited, a conversation between trust and tension, instinct and direction. Each return to the main theme feels like a push toward something just out of reach, a horizon the listener can feel but never quite see.

Near the end, the ensemble holds its breath, a pause before the final stride, and then releases into a swift, radiant close. The cadence lands with quiet certainty, like a rider who has seen enough of the path to know where it leads.

This is music for those drawn to movement, for listeners who understand that the unseen isn’t to be feared, but pursued.

Gallop to the Unseen · Oud and Violin Ride Along

This track is made for quiet focus and long, steady hours. The kind of space where thought and motion balance, where sound folds into breathing. It does not press forward. It stays with you. The rhythm is a walk, not a march. The oud and violin move together like two sides of the same message, one speaking, one listening. On a mindful playlist, it sits between pause and flow. Centering without stilling. Gentle without drifting away.

“Letters Without Ink” begins with the oud alone, clear, grounded, and close. Its phrases curve like words traced in air. The violin joins softly, not to echo but to carry what the oud leaves unsaid. The dialogue unfolds as if across a distance, a thought begun in one heart, finished in another. Neither leads, neither follows. Each return of the theme feels like a letter reread and understood a little differently.

The middle section breathes wider. Guitar adds quiet compás, a suggestion of movement rather than command. The violin leans in, its tone warmer, the oud more sure. Together they find the rhythm of news carried gently, steady steps, measured breath, time enough to arrive.

Near the close, the percussion lifts almost imperceptibly. It gives the final exchange a small rise, a sense of completion without weight. The oud speaks one last phrase. The violin holds its note a moment longer, then lets it fade. The music ends as if the message has been received, no signature, no reply needed.

EMOTIONAL DELIVERY

Reflective rather than mournful. Warm rather than bright. It is the sound of words unspoken but understood, messages that travel farther than the voice that sent them.

Letters Without Ink · Oud and Violin in Soft Tangos

This piece moves with the calm assurance of a slow journey. The oud begins alone, its tone clear and deliberate, drawing a line that feels both ancient and personal. Each note falls like a measured step, steady enough to trust, soft enough to listen through. The violin answers in long arcs that carry warmth over distance. Their dialogue feels lived-in, as if they have shared this road before.

At its heart is a Middle Eastern classic arrangement built on a gentle four-beat frame. The rhythm holds like the gait of a horse at ease, patient and grounded. The oud shapes tension in Hijaz colors; the violin releases it with smooth resolve. Together they breathe between restraint and release, between weight and ease.

As the music unfolds, the listener feels motion without urgency. The compás stays even, each cadence landing like a footstep on familiar earth. Small changes in phrasing turn light to shadow, shadow to light. Near the close, the instruments find quiet agreement. The piece does not end; it settles, leaving the air still and warm.

MOOD SPECTRUM

Grounded. Reflective. Warmly solemn. It rests between longing and peace, a sound that moves inward while the world slows around it.

Gentle Step · Oud and Violin in Slow Tientos

This track is inspired by the timeless song Zourouni Koulla Sana Marra (“Visit me once every year”) by the revolutionary Egyptian composer Sayed Darwish. The original is known for its timeless melody and poignant lyrics; It's a quiet dialogue between longing and grace that still resonates across cultures.

In this reimagined instrumental interpretation, the oud speaks first, close and warm, setting the tone like a doorstep conversation at dusk. The violin joins as a second voice, curious and emotional, weaving in and out of the oud’s phrases as though remembering a familiar story. The guitar keeps a soft, steady pulse through understated arpeggios, while brushed percussion outlines the heartbeat of a gentle four-beat walk.

Throughout, flamenco influences tease the melody’s journey- a hint of zambra glow, the soft pulse of tangos, and the poised sway of soleá por bulerías near the close. These flavors drift through the piece like passing moods, guiding the listener without ever overtaking the stillness at its heart.

This is not a performance meant to dazzle, but a meeting between two musical worlds. The melody speaks as if at a doorway- graceful, nostalgic, and assured. By the closing cadence, the air feels calm and near; the visit complete.

Perfect for reflective playlists, quiet evenings, or moments when memory needs space to breathe.

Zourouni Koulla Sana Marra · A Flamenco-Threaded Reimagining for Oud and Violin

Under the Pomegranate Sky moves in the rhythm of flamenco tangos, where a steady four-beat pulse meets the glow of Arabic melody. The oud leads with quiet fire, its phrases curling into Hijaz turns before returning to the earth of E Nahawand. The violin rises beside it, sometimes in unison, sometimes stepping away like light shifting across a courtyard wall.

The guitar keeps the heartbeat alive through rasgueo and arpeggio, while cajón and palmas add the warmth of human pulse. Together they move forward with grace and poise, a dance that breathes more than it burns.

This is music for the amber hour, when movement slows but spirit stays awake. It carries the scent of dusk and the shimmer of faraway streets, where Andalusian rhythm and Arabic soul walk side by side. A flamenco–Arabic serenade born of tangos fire and tempered by reflection, it invites you to listen, to move, and to remember.

Under the Pomegranate Sky · A Flamenco–Arabic Serenade

08. Suite II 2. La cocinera

Argentina, uma das vozes mais destacadas do flamenco contemporâneo. Começou muito jovem a cantar em peñas e escolas flamencas, fez parte do grupo Niños de Huelva e do conjunto Cané, até que em 2006 lançou o seu álbum de estreia Argentina. Nomeada duas vezes aos Latin Grammy (2013 e 2015). Álbumes como Sinergia (2014) e La vida del artista (2017) consolidaram o seu reconhecimento

José Mercé um dos cantores de flamenco mais reconhecidos e populares de Espanha. Pertencente a uma família de longa tradição flamenca — bisneto de Paco la Luz e sobrinho de Manuel Soto “Sordera” — começou a cantar muito jovem, primeiro em peñas e festivais da Andaluzia.

Mercé é conhecido pela sua voz poderosa e pelo equilíbrio entre o flamenco mais puro (seguiriyas, soleás, bulerías) e uma vertente mais aberta e popular, que o tornou um dos artistas flamencos com maior projeção nacional e internacional.

O que interessa é sentir o duende. O flamenco que te toca a alma, sem filtros. Segue-nos para ouvir a verdade da guitarra e do cante. 🎶❤️

Programa dedicado ao Flamenco como uma das músicas livres do mundo.

Produtora & Apresentadora: Ana Oliveira e Carmo
Diretor Artístico: Deivis Matos
Curadoria & Tradução: Freddy Roldan Rivero

Olé! A vida é no ritmo do zapateado. A tua dose de flamenco autêntico está aqui. Junta-te à comunidade! 💃🔥

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Programa - 2025/10/25

SENTE A ALMA, VIVE A PAIXÃO! O programa que celebra a Arte do Flamenco! Sábados 12h | Radio Amalia 92.0 FM 🎙️🔴

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https://www.facebook.com/flamencoatlantico2
https://soundcloud.com/lahoradelflamenco

I’ve always lived at the crossroads of music and poetry — where feeling becomes form, and melody turns memory into meaning. Whether it’s a lingering jazz note, a well-placed rhyme, or a shift in tempo that tells a deeper story, I’m drawn to that quiet magic where art reflects life with a little more style.

My roots are in classic music — the kind that doesn’t chase the moment but lingers with you long after the last note. Over time, that love expanded into poetry writing and jazz — especially the kind that swings, speaks, and smirks all at once. Jazz, to me, isn’t just a genre; it’s a personality. A conversation. A little tilt of the head and a grin that knows more than it says.

When I set out to create an album, it’s rarely just a collection of songs. I approach it like a personal playlist — one that drifts and flows as if the entire tracklist were one long, uninterrupted piece. Each track leans into the next, shifting mood, pace, or voice, but always carrying the same thread of feeling. I want you to listen the way I do — not as a shuffle of moments, but as a cinematic arc. One breath that lasts an hour.

Lyrically, my work is rooted in lived experience. Sometimes it’s obvious. Other times it’s just the skeleton of a memory, dressed up in wit, irony, or longing. I draw from real-life events, then let the poet in me twist, stretch, or sweeten them to taste. Depending on the tone of the album — playful, romantic, nostalgic, or something in between — I try to keep the emotional truth intact while giving it a fresh coat of creativity. A little humor where it fits. A deeper dive where it hurts.

My newest jazz album continues this tradition — short-lined swing tracks, conversational duets, and tongue-in-cheek storytelling. It’s an homage to late-night alleyway ballads, rooftop serenades, and train station goodbyes — all bound together with a sense of charm and cohesion. Each song is its own little scene, but together they tell a story — one you can revisit with each replay.

Thanks for stopping by my profile. I hope you find something that earns a spot on your repeat-play list — a melody, a lyric, or a moment that feels like it was written just for you.

Somos uma rádio voltada para a cultura "gaucha" e para o agronegócio.
www.radiosul.net

Born in Torre Pacheco, he completed his advanced studies in Orchestral Conducting at the Manuel Massotti Littel Higher Conservatory of Music in Murcia under the tutelage of José Luis López García and José Miguel Rodilla. He pursued higher studies in Jazz Composition and Arranging in Madrid with Félix Santos Guindel and refined his skills through masterclasses with José R. Pascual Vilaplana, Jorma Panula, Bruno Aprea, Ricardo Frizza, Atso Almila, and Miguel Romea, among others. In 2006, he was awarded the “Young Murcian of the Year” prize by the Youth Institute and the Presidency Department of the Autonomous Community of Murcia in recognition of his musical and artistic career. Among other accolades, he has won two Gold Medals and twelve Silver Medals at the Global Music Awards in California. He has collaborated with various ensembles, including the Orquesta Sinfónica de la Región de Murcia and the WDR Funkhausorchester. Notably, his four-hand transcription of the four books of Suite Iberia by Isaac Albéniz, created for the Valero-Rodríguez duo, has been performed in Spain, France, Italy, and Belgium. He holds a permanent teaching position at the Cartagena Conservatory of Music, serves as director of the school and band of the Agrupación Musical Ntra. Sra. del Pasico in Torre Pacheco, is the principal conductor of the Lorca Symphony Orchestra, and has been the arranger for the OSRM since the 2020 season.

New tracks tagged #tangos