Juan Carlos Caceres


Possessed by a strong magnetic tellurism, Cáceres
was always to be found within the limits of the
hurricane’s eye. He arrived in Paris – was it mere
chance? – in May 1968. He was not looking for a
beach under the cobblestones, but he found one.

In Buenos Aires, where he was born, he had been
the factotum of the Existentialist Scene. Student of
Fine Arts during day time, trombonist at night,
agitator, a force of nature, he became the attraction
of the mythic Cueva de Passarato, a jazz club and
epicentre of revolutionary trends.

There converged beatniks, upper class chicks and
future Maoist guerrillas, often combined in a single
individual.

Cáceres, a tsunami of magma and champagne, was
the man in charge. Until one day he answered the
calling. In Paris he played with the artist Marie
Laforêt, founded the bands Malon and Gotan,
painted, produced shows, taught History of Art and
did research on the roots of the River Plate’s music.
Today he still lectures on the subject, but, above
all, he composes and sings, with a lion’s voice, the
most relevant pieces that mark the rebirth of tango,
candombe, murga and milonga. Caceres is inspired,
impetuous, passionate and fiery at this. This
youngster, born in the 40s, is the reference for
creators in and out of Argentina and Uruguay.

The River Plate, the widest river in the world,
separate these two countries, that once were one.
Cáceres drinks these rhythms that Cáceres brings
from the past, to move the present and point to the
future.

Modernism is found in the beginnings.

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