However, as the journalist confided to Télam, the tribute had been lifted in the last hours when the musician himself reported that he was not going to attend because he did not feel in optimal health conditions, as a result of the treatment that was being carried out.
Remus’s last performance had been in 2021 within the framework of the Jazz Online streaming cycle, which was carried out from Jazz Voyeur.
Remus had an intense artistic activity since the 1960s, and despite having developed himself especially in the field of jazz, he also participated in productions linked to popular music and folklore, such as the case of the “Misa Criolla” by Ariel Ramírez , or the second part of “La Fusa”, the famous recording by Vinicius de Moraes in the mythical Mar del Plata venue.
Among the figures with whom he collaborated with his double bass are brilliant names such as Mercedes Sosa, Tony Bennet, Gato Barbieri, Enrique Villegas, Tío Los Panchos, Leonardo Favio, Sandro, Alberto Cortez, Susana Rinaldi, Antonio Carlos Jobim and Paul Gonsalves, the Renowned musician who was part of the Duke Ellington Orchestra.
But Remus also left an important discography as a soloist that began in 1968 with “Trauma” and lasted until 2006 with his “Tribute to Bill Evans”, one of his great idols, according to what he told Télam in a talk held last April.
On the occasion of the publication by an American label of the two records by Bill Evans recorded live during his visits in 1973 and 1979, Remus precisely recalled his contact with the legendary pianist, when the journalist Nano Herrera introduced him to him in the lobby of the Hotel Claridge, where he stayed the first time.
“When Nano Herrera introduced us, Bill Evans made me repeat my last name, he kept thinking for a few seconds and told me: ‘Remus, I have a record of his in New York’. I almost died. It turns out that Horacio de Dios, who was very my friend, I had brought several records of representative jazz musicians and, among them, there was one of my own. The thing was that Evans had it, listened to it and liked it, so imagine that it was a terrible mime for me, that I am ‘Billevarian’ of the first hour”, recalled the double bass player at the request of this agency.
He also highlighted that since that opportunity he maintained a fairly fluid contact with the double bass player Eddie Gómez, whom he saw again on some trips he made to the United States.
But fundamentally, Remus left his mark on the local jazz scene, through his innumerable collaborations and his participation in jam sessions in various strongholds.
Meetings can be registered there at the house of the pianist Eduardo Lagos, whom Hugo Díaz baptized as “folkloreshons”, where figures such as Astor Piazzolla, Oscar Cardozo Ocampo used to pass. Oscar López Ruiz and Domingo Cura, among others; and how far Vinicius de Moraes approached on his first visit to the country, before his shows at La Fusa.
The truth is that this entire trajectory made Remus a benchmark for all local double bass players.
Until the early hours of the afternoon, the place where the remains of the musician will be fired had not yet been defined.
Source: Ambito
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