Fully licensed reissue of this 1974 album, central in Argentina’s jazz history.
Sound sourced from mastertapes.
Housed in gatefold cover, including an additional insert with photos and translation of original liner notes into English.

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From the introspective “Mojo uno”, Gelbard’s solo piece on Moog, to the wild “Alevacolariea”, featuring the prolific Uruguayan Rubn Rada, Gelbard’s solo album offers no chance to remain indifferent.

Fernando Gelbard occupies a singular place in Argentine jazz history, remembered for his bold embrace of new sounds and his refusal to let boundaries define him. A pianist, flautist, and producer, he was among the first in Argentina to explore the possibilities of electronic instruments in jazz, creating a body of work that feels both rooted in tradition and ahead of its time.

Didi, recorded in 1974, epitomises this vision. Entirely performed on electronic keyboards such as the Moog synthesizer and Fender Rhodes, it fused bebop harmonies with bossa nova -Gelbard has a deep love for Brazilian music-, Latin grooves, and Afro-American rhythmic textures. The result was a kaleidoscopic soundscape that challenged conventions and opened doors for new directions in South American jazz. Tracks like “Alevacolariea”, featuring the Uruguayan Rubn Rada, with its rich percussion and chanting, reveal his interest in rhythm as a unifying force, while pieces such as “Chau, Ambrosio” show his skill at blending layered studio experimentation with a straight-ahead jazz sensibility.

Gelbard’s contributions extended beyond his own recordings. He collaborated with leading Argentine musicians, including saxophonist Horacio “Chivo” Borraro, whose improvisational energy found a natural partner in Gelbard’s adventurous arrangements. He also became a key figure behind the scenes as the owner of the influential ION studios in Buenos Aires. Under his guidance, the studio grew into a creative hub where countless Argentine artists explored new sonic territories, benefitting from Gelbard’s producer’s ear and openness to experimentation.

His musical journey was intertwined with a turbulent political backdrop. The son of Jos Ber Gelbard, Argentina’s economy minister under Juan Pern, Fernando grew up in a household where culture and politics were inseparable. After the 1976 military coup, the family was forced into exile, relocating to the United States. In California, he continued his artistic pursuits while building a career as a consultant, always keeping a link to the music that defined him.

Taken together, his work as performer, producer, and studio innovator marks him as a central figure in the evolution of Argentine jazz. Gelbard’s music continues to resonate not only for its technical daring but also for its warmth, its rhythmic vitality, and its vision of jazz as a space where cultures and technologies could meet on equal footing.