Info & Bio

Hi everyone,
This is the Info & Bio page of my former Website, now available here (no links this time), just for your information. It is now edited and updated.

Brief  Info

                                                                                                                    

I am a musician and also a sound technician who works into and was absorbed by the recording industry, in its back to the music, living in Buenos Aires.

Actually I'm managing the way to put several projects alive, with the only help of my friends and family. 

My music ranges from ambient styles to rock/fusion, in a special blend, for moments perhaps more eclectic or heterogeneous (at first sight). Due to my musical formation, I also play classical and jazz, maybe later projects reflects that sides... Anyway there are no sign of that nowadays, the more I explore on my ambient side, the less those influences have an effect on me.                                                                                                    

For those who are starting, here is my advise: 

Do it the way you like, just be youself.

Puppy           

--O--
                                                                               

Bio

An attempt of a Biography.
(Written in crude style, more honest and truer than an ordinary C.V.)
Lots of data here, if bored, skip it ☺
                                                                                         

60's - The start of everything.

Puppy Bordiga born in winter, on june 25, in the middle of the night, in the Palermo neighborhood of Buenos Aires city, in a very downtown zone that has many changes through the years. He has music around since then, mostly due to his father (Juan José Bordiga) taste, who by that time was involved (many times as an artist or event producer) with the work of some of the most important musicians of the local jazz and tango scene (he was one of the co-founders of the B.A.'s "Bop Club" of Jazz), like Astor Piazzolla, Virgilio and Homero Exposito, Lalo Schiffrin, Gato Barbieri, Enrique "Mono" Villegas, Horacio "Chivo" Borraro, the Casalla brothers, Jorge "Bebe" Eguia, and many others, as well as other people from the media, like Hector Basualdo, Guillermo Orse Remis, Alfredo Radoszynski, and other journalists and people from the radio and tv world, the list is  just too large to show here.

He (P:B.) hear jazz in the morning and classical music (mostly Debussy and Ravel quartets) at the time to sleep, something that was also enjoyed by his younger brothers Andrés Juan and Juan Pablo in their first years. At his 5, the family moves from their home in Vicente Lopez to Martinez city (both in the north area adjoining to Buenos Aires city), where they will live for the next long 22 years, and a very special place, as facts will demonstrate later... 

With the time, P.B. began to study piano and other matters for the Conservatorio Santa Cecilia (Founded in 1894 by Luis Forino), then he began his musical career, along with his scholarship. The remaining years of this times were passed between this way of life and long holidays at Villa Carlos Paz, Cordoba, where his uncles reside. 

70's - This was an INTENSE period if interactions are measured.

 P.B. gains in skills at the piano and he plays for a full audience at the Colegio Santa Teresita's End-of-the-Year Feast, with about a thousand people hearing his first compositions and also traditional pieces, in december 1972. Some Conservatory changes were given, according to major changes made in the staff of them (including a year at the Conservatorio Superior Manuel de Falla) , and because the status of the family were growing due to his father's continously improvement at his main job (he has one of the top stevedores companies at the B.A.'s port), so by 1975 he and his brothers were studying at the Juan Jose Castro Conservatory with the maestro Antonio De Raco, Claudio Kanz, and Susana Kasakoff (piano) also with Horacio Lopez de la Rosa, harmony and composition; and as complimentary instrument trumpet with Wlifredo Cardoso, one of the vituosos that the National Symphony Orchestra has at that time. Also around that time he began to study guitar, with Nono Belvis of M.I.A. at first, later he prefers to continue with some of his pals at the same conservatory. That was a time when the electronics come to the mass market, so P.B. found himself each time with more access to technology due to the goodness of the port, he have in house different kinds of tape-radio recorders and open reel machines, and later a lot of more professional equipment. 

P.B. can't wait to experiment with them. He and his middle brother Andres began to literally reset and reconfigure each german, japanese or u.s.-made object in the process of refine a machine that will provide them the recently discovered (for them) "echo" of the tape. They don't know it in real time, but they were done similar things that the Eno/Fripp duo do thousands of miles away (and by then they are 16/15 years old); little brother Pablo used to join those expériments too. All of that finally ends in an Electro-Acoustics Degree in the early 80's. 

At the end of this decade, P.B. collaborates a lot with the San Isidro's young musicians scene, as a guitar, trumpet or piano player, or as a sound technician, played and/or jammed with names like Fabian "Picho" Fontan, Adrian Calonico, Osvaldo "Bochi" Alegre (from the Angel Destino band) , Javier and Martin Pajarola,  Juan Enrique Farias Gomez, Alejandro Popovich, Santiago Trejo and brothers, Carlos Riganti (from the Alas group), Patricio Migliazzo, Francisco Obieta (an incredible bass player, since some years to the date also an orchestra director in Switzerland); which were a few of those who shares music with P.B.. 

His friend Gabriel Alaniz gives him the chance to have a first-hand knowledge of the music stage through a temporary work with the singer Sandra Mihanovich, and his brother Andres got a part in the music score of a short lengh film that put them for the first time in a real studio, at ATC, the official T.V. channel.
Everything's go fine until... The military service makes a cut of 18 long months in his life, only seasoned with the sense of humor of some comrades, like Diego Capusotto (actually a humoristic t.v. actor with high prescence in YouTube and other parts of the net). 

80's - Perhaps this was the time when all the seeds were planted and some fruits were harvested.

After returning from the military, P.B. begins to improving his guitar technique,as well as his guitar stuff, mostly pedals, some of them borrowed from friends,  and other boxes made by him. From time to time he uses to met his old San Isidro friends and do some jams and recordings, with the band Gutural (founded by David Wapner and Lucio Griffoi), Sergio Romano, Los 22 Genuinos, Dario Goggia and others. 

By that time he starts a long time collaboration with Patricio Migliazzo, which last past the early 90's. In that environment, various groups were started, like the Trio Canon (with Gabriel Menendez on cello and Jose Maria D'Angelo on flute), with which the electro-acoustic experiments with classical instruments starts; or like an unnamed quintet -between friends called "Fohat"-due to the name of one of the pieces-, that plays Migliazzo music who have the rare honor of premiering the first 24-Track Studer recorder in B.A., at Panda Studios; and other formations. 

The presence of yoga master Alex Sock at home, albeit indirectly, was also highly influential in the 

development of the shots decisions of this time, giving the group of people then the necessary coherence and spiritual integrity, no matter later each one follow their own destiny. Since the Panda sessions, he remains friends with remarkeable musicians like Julio Presas and Bruno Sanfilippo, with who later several collaborations will take place even after the moving from Martinez city.

One of the main focuses at this point of the Migliazzo-Bordiga partnership was to achieve the most  complete control over the release of the sound, way that the audible decay of the notes matches exactly with the music score's expression legatures, creating a harmonics chorus, sometimes (according to the piece) making clouds that emphasize the mood or character of the piece. It was an absolutely hard work, only possible by manually setting up in a different way the available hardware for each work. The music of this period ranges from early classical like Pachelbel, to actual names like Hovhaness. This provided an ideal source of sound and harmonics, something very apretiated at the time of pressing the red "record" button. 

That was a time of tech renew, and P.B. gains a lot of skills putting the things straight enough, way to get the finest sound quality. It wasn't rare to have to make in-situ arrangements to make suitable the different - generation apparatus in order to start the recordings. Of all those works, remains only some bootlegs specially made by P.B., due to the custom of Migliazzo of deliver hand-to-hand copies of his works, also because he (PM) has a link with some medicine professionals some tapes for therapy uses were also done at this point. 

By the end of this decade, the economics in Argentina have a serious breakdown so many musicians were forced to catch the most weird jobs in order to survive, but P.B. manages to get a job making live sound with Sonidistas Asociados, an organization led by Willy Zucker, where he met again with an ex-college mate, Jose Luis (Manolo) Macrina, who puts his voice in one or two of the first fusion style P.B. pieces and helps him to manage some space to move its music; also he began to collaborate with Bruno Sanfilippo, who by then were mounting his own studio "Osiris", at the same time while he start to create the first materials for what later becomes his first record, "Sons Of The Light". 

90's - A time when some ideas began to materialize, and some cycles close, to give space to the new and getting refreshing air to life.

By that time, the duo Migliazzo-Bordiga has an awesome amount of material done, but still remains 

accumulated in their wardrobes, except by an unusual spanish edition made with the record label Hyades Arts, named Zona Magnetica, one side taken from the Panda sessions and the other recorded live in Acassuso, B.A., and a little piece recorded at Daniel Fumega's (a friend musician) home studio, produced by P.B.; Jorge Haro did a great job of mediating between musicians and record label on this project. A little bit later, Bruno Sanfilippo releases his first edition, Sons Of The Light, and by those strange rounds of life, gives P.B. the chance to get a new job, this time at the music industry, in one of the main factories of the country, EPSA Electrical Products. 

This event have a huge weight at its time, getting the right opportunity as well for Bruno as for Patricio, of releasing their works under a local and trustable record label (Epsa Music, the label related to the factory). So was that Bruno's first and Patricio's new Misa De Acuario works were finally released through that label.
Each work has its own history in development and subsequent fate. At first the enormous demanding of his new job, together with other personal issues, make P.B. to make the decision of to end his long time association with P.M., but later it was clear that no better thing could be done by then. Therefore, a big and bright new horizon has been uncovered to him, in order to make his own music, mainly with the release of time. Time now were a precious matter, so he had to learn how to manage it to make his life something more than a jail (so heavy were the demand of his main job). 

About 1994, he do some other recording works, among others with remarkable musicians like Mariano Pini, specially the outstanding work called Reiki, that was one of the first works strictly done for that discipline, involving guitar, tape loops and aftereffects; having P.B. and Mariano similar ideas about sound and music, this work reflects that old paradigm of the released-sound almost to its perfection (kudos to Juan Llanos, from Macondo Studios). Through Mariano, P.B. get in touch with the at those times recently formed Natas group, an indie hard rock formation, of which he was their first stable soundist, and with whom collaborates to make clear the group personality. Anyway, P.B. must stop even that because of time matters. 

However, he manages to still collaborate with Bruno, that in this period releases his second, third and  fourth works, P.B. puts his touch of knowledge and effort for the Solemnis and Suite Patagonia albums; later Bruno decides to radicate himself in Barcelona. Around that time, he also enters the radio-broadcast world by collaborating with  journalists Mario Melo and Marina Calvo, at the F.M. La Tribu radio station. There he produces the last month of the program El Bidet, and the only season of Adios A La Razon, where he also have his own symphonic rock space. The remainig years of this decade were signed by the work, eventually breaked by a not checked number of fast studio rehearsals and mastering (now his main job) of audio for a number of diverse artists. He puts some hours from time to time to upgrade his stuff from analog to digital, and more or less his own legacy began to remain safe... 

2000's - The root of actual events and final enlightenments.

Now P.B. becomes a master on his mastering job at the plant, so with the time he passes gradually from the old cassette tape mastering to a brief systems department stance, to the CD mastering process. All of that always at a cost of time, now valuated to him like the gold. Around 2002, he do some live sound to Los Natas again (by this time, their massive mailing succeded, so they edit and publish their music, tour america and europe, becoming one of the most respected bands in the country), then he has the chance of putting into practice his growing computing knowledge by staying about a year (in the free time) at an enterprise named Titansol, a web design and enterprise services group in which the Los Natas's drummer Waldo also work. It was another rare miracle of life, it was located middle way from his job to his home, and It provides him some rest for his mind; so with the brainstorming way of work there, some important decisions could be taken, then he concluded that his period of recording others has ended, and that it must began from there on, his own and final entering to the music world, by launching his own music in a new and personal way of 

approaching to it.
Because he must to sell all his equipment at the early 90's due to the economics, he now made a tremendous effort to re-achieve instruments and music material lost before. 

So, a new guitar enters his room, as well as a constantly changing range of pc's and macs in order to have the possibility of direct digitally record anything. About this time, P.B. suffers a stress complication, that leads him to a one-week stay in hospital which makes him to change his working idea and politics about that matter...

In the later years of this period he helps his former team mate of the Trio Canon, Gabriel Menendez, in the recording process of his first two albums, "Conexion Tango" and "Callejon". The rest is a long way to join the pieces of his own puzzle in order to start moving his music in the best and proper way. 

2010's - Actual fights and the imperious need to move forward.     

Well, to be politically correct and polite, we must to say that the present last years were marked by the fight against the lack of time and founds, derived undoubtly of what Mr. Robert Fripp once called "The dinosaurs of the industry", and the country's economical wowings; the recording industry failed to get upgraded itself (at least in a large part), and no longer has the strengh of previous years, so it is very complicated for the people involved to have a decent living anymore, no matter you are a technician, a musician or whatever you could be into that... And the country actually is trying to define for itself the path to continue walking, making (again) uncertain the long-term plans for everybody...

So, in the practice, when you try to make you own move, you find yourself into a situation like having lost almost everything and you standing naked on the street again, just like if you were a twentysomething, but now if you are in your 50's, it's a hard mountain to climb this time... 

The more than 21 years old relationship with his former employer broke at the end of 2012, because of an  "in a way" expected company bankrupcy, derived from bad managing and other issues... 

 ...so in the meantime of legal paperwork is being done, P.B. restart and push on the music projects that were waiting to have an output into the real life, including his own solo project and also the recently formed band "Zona del Punto Sin Retorno" (Point Of No Return Zone), co-teamed by his brother Andrés and old friend Fernando Racig (this last one  just for the first year), with the later additions of old friends Gigio Germoglio on bass and Danifari Zearo on drums and percussion, and with expected more members additions in the time to come.

In the band side, actually they are handling the time and sources in the way to finish the release of their music, to make the material avalilable for anyone. As a soloist, we have two albums and an EP released through Bandcamp, and there are two albums more waiting its final release.

Also these times the music relationship with Patricio Migliazzo was rebooted, so we added a special space in our YouTube channel, to promote some videos made at our studio, and further collaboraion works are in pogress actually. 

As well as things could be done properly, with time we can jump forward into newer projects, and start building a backgound over which we can stablish our music independently at least a bit of the constant changes of the surrounding society's situations...

Thus, more or less this was the path walked, in short. We hope we were as accurate as possible, anyway retouching and other politeness work would be done later.