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362:"In 1884 it was my first encounter with Gabino Ezeiza, the most famous of the Argentine bards, and that payada served to make a school. At that time it was sung by number, but Gabino introduced the milonga on that occasion in the tone Do Mayor" and added: "she is a villager (from the city environment) since she is the daughter of African Candombe, and tapping her forefingers on the edge of the table she began to hum" tunga...tatunga...tunga..." to demonstrate, phonetically, the link between this rhythm and Candombe."
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Ezeiza was eventually proclaimed the winner with the improvisation of his famous "Saludo a
PaysandĂș". A recording of this song is the only existing record of Ezeiza's voice. He went on to become one of the greatest payadores in the history of the art form (alongside, amongst others,
219:, with which he defeated Nava, becoming one of the most important payadores in history. The day July 23 was declared "Payador's Day" throughout the territory of the Argentine Republic in honor of that historic counterpoint.
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in May 1902 that established the present-day boundaries between both countries, Ezeiza toured on the south of
Argentina. In 1905, he married Petrona del Carmen Peñaloza, whom he had met during his shows in
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with the oriental singer Juan de Nava is remembered, witnessed by a large auditorium. In that meeting, Ezeiza improvised there what would become the popular song
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Ezeiza (first from right, below) posing with neighbors of
Justiniano Posse in CĂłrdoba Province, few months before his death
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370:(named "creole guitar" in Argentina), of Afro-Argentine candombe carried out by Afro-Argentines in the Argentine Pampas.
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rhythm to payada, and its popularity caused other payadores to spread it to other areas of
Argentina, Uruguay, and
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singers such as
Nemesio Trejo (1880), Puanes e Hidalgo (unknown date), Pablo VĂĄzquez (at Teatro Florida in
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211:. His counterpoints became famous and the one held on July 23, 1884, at the Artigas Theater in
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In an interview to
Argentine payador and journalist Nemesio Trejo, published in the newspaper
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met Ezeiza in the political committees, in particular, for his work in the committees of the
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on July 23, 1884, in front of one of the largest crowds ever to gather for a payada duel (in
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231:, 1894), Arturo de Nava (at Circo Anselmi), CazĂłn (both in 1896), Luis GarcĂa (1900 in
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July 23 is established as the "Day of the
Payador" in commemoration of this event).
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Ezeiza considered that the milonga rhythm would have been an evolution, in
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582:/17/el-camino-del-tango-2/# MALENA canta el TANGO⊠Yo trato de bailarlo.
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There are those who consider that Ezeiza was the one who introduced the
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musician. Ezeiza was one of the greatest performers in the art of the
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Ezeiza was also in jail for political reasons (according to the 1895
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in his tribute, which years later led to the Gardel album.
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Historias de mi Comuna: ¿Conocés el Café de los
Angelitos?
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Ezeiza affirmed that the milonga (campera) came from the
136:. He became renowned, both in his native land and in
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Gardel y Gabino Ezeiza todavĂa cantan bajo los tilos
430:"La famosa payada que dio origen al DĂa del Payador"
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El Ășltimo payador - De Homero Manzi y Ralph
Pappier
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601:at Folkloretradiciones.com (archived, 17 Jun 2006)
164:). He was also well known for his sense of humor.
479:by Mabel G. Crego on Barriada.com.ar (archived)
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418:El negro Gabino Ezeiza, payador de los comités
128:(February 3, 1858 â October 12, 1916), was an
399:Hace 100 años partió el payador Gabino Ezeiza
265:, whose script was written by tango lyricist
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466:Gabino Ezeiza and his Afro-Argentine roots
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257:adhering to the movement led at the time
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223:Ezeiza had memorable payadas with other
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545:Segundo Censo de la RepĂșblica Argentina
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340:(on all in the south of this country).
701:Burials at San José de Flores Cemetery
454:Historias de mi Comuna: La Casa MĂnima
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696:Argentine people of Angolan descent
572:by Marta Suint (archived, Nov 2011)
558:Tratado General de Arbitraje (1902)
202:Ezeiza was one of the most famous "
140:, after a memorable encounter with
316:Contribution to Argentine folklore
194:Ezeiza posing with his guitar for
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269:. He made friends at the popular
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560:at Derecho Internacional PĂșblico
432:Ministry of Culture of Argentina
358:on April 15, 1916, he recounts:
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277:. Upon his death, the duo sang
207:, both in his homeland and in
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444:by Gabino Ezeiza on FolkCloud
489:DĂa del payador en Argentina
304:Ezeiza died in his house in
706:Musicians from Buenos Aires
288:data). After Argentina and
261:, a story told in the film
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299:San NicolĂĄs de los Arroyos
599:La payada y los payadores
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671:Afro-Argentine musicians
676:Afro-Argentine culture
534:on Buenos Aires.gob.ar
456:on Buenos Aires.gob.ar
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35:Background information
686:Argentine songwriters
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271:Café de los Angelitos
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172:Gabino Ezeiza was an
613:on Revisionistas.com
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306:Flores, Buenos Aires
233:San Antonio de Areco
185:Greater Buenos Aires
98:Musician, songwriter
681:Argentine musicians
442:"Saludo a PaysandĂș"
255:Radical Civic Union
420:on Yrigoyen.com.ar
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570:Qué es un Payador
326:Cantares Criollos
263:El Ășltimo payador
259:HipĂłlito Yrigoyen
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691:Male songwriters
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634:Biography portal
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60:February 3, 1858
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547:- May 10, 1895
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646:Find a Grave
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310:endocarditis
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294:peace treaty
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275:Buenos Aires
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267:Homero Manzi
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251:José Razzano
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176:born in the
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146:Juan de Nava
125:
124:, nicknamed
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79:Buenos Aires
74:(1916-10-12)
63:Buenos Aires
666:1916 deaths
661:1858 births
225:rioplatense
162:Santos Vega
655:Categories
374:References
356:Avellaneda
352:La OpiniĂłn
213:Montevideo
56:1858-02-03
41:Birth name
403:La NaciĂłn
324:Cover to
292:signed a
229:Pergamino
204:payadores
178:San Telmo
168:Biography
154:Argentina
130:Argentine
345:candombe
150:PaysandĂș
144:payador
142:Oriental
334:milonga
209:Uruguay
138:Uruguay
508:El DĂa
338:Brazil
286:census
181:barrio
134:payada
111:guitar
107:Vocals
89:Payada
85:Genres
290:Chile
126:Negro
249:and
69:Died
50:Born
644:at
354:of
273:in
235:).
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589:^
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312:.
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58:)
54:(
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