Saturday, November 12, 2011

Without the Bongos

Pablo Aslan issued a very interesting album this week: Piazzolla in Brooklyn. The album takes nine tracks from a 1959 Piazzolla LP titled, Take Me Dancing, and reinterprets them in contemporary jazz format. Aslan talks about the concept behind the new recording and you hear quite a bit of the track titled Counterpoint in today's video.

The 1959 version was recorded in New York City during Piazzolla's ultimately unsuccessful attempt to establish a musical career in that city. He recorded six LP's during that period. In five of those, Piazzolla was a band leader and instrumentalist playing other people's music. Take Me Dancing is the only LP of the six in which he was able to play a significant amount of his own music, which he termed Jazz-Tango. That album contains eight tracks composed by Piazzolla and four standards. The music is, for the most part, forgettable - the textures are bland, the tempos metronomic and the bongos are irritating. For many years the music on the LP was available to only a few who were lucky enough to find a copy of it in a dustbin but I note that today, you can download the full contents of the LP.

But Aslan heard something else in the music. As he says in the video, "There is a lot of great music in there, if you can get past the bongos." Aslan, himself a bassist, assembled a quintet: Gustavo Bergalli on trumpet, Nicolas Enrich on bandoneón, Abel Rogantini on piano, and Daniel “Pipi” Piazzolla on drums. He, Enrich and Rogantini transcribed seven of the pieces that Piazzolla had composed, two of the standards and added a tenth piece, La Calle 92 (La Calle translates as "the street" and one of Piazzolla's addresses in NYC was 202 West 92nd Street) which was composed in 1961. All of the musicians are seasoned jazz musicians who also know tango. They recorded the music in Buenos Aires over a period of days. The pattern for each track is roughly the same: they open with essentially a direct reading of the score and after the full thread of the original has been spun they begin to improvise around Piazzolla's music - frequently playing above and around the original themes. They make good music - a clear improvement over 1959. If you are a jazz fan you will enjoy the music. If you are a jazz fan who enjoys Piazzolla, you will love the music. If you are looking for a nuevo tango recording - this one is not for you.

In addition to the interesting comments and snippets of the recording session, you will hear a significant portion of the work Counterpoint (also known as Contratiempo) starting at 3:25 in today's video. You can compare what you hear to Piazzolla's 1959 recording in this video. You may recognize the fugue that opens the piece - Piazzolla recycled it into Fuga y misterio in the operita, Maria de Buenos Aires.

The concept for the album is creative and the execution respects the music that Piazzolla composed. The improvisation is excellent and left me wanting to hear these five musicians take on some of Piazzolla's more successful music rather than his more obscure music.

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Wednesday, November 9, 2011

Invierno Porteño - Pitango Quartet

Who you gonna call? If you have a ghost problem, you call Ghostbusters. If you want an arrangement of a Piazzolla tune, you call Norberto Vogel. That is who the Pitango Quartet called when offered the opportunity to perform with the Netanya Kibbutz Orchestra. The very successful result of that call can be sampled in today's video of Invierno Porteño.

The Pitango Quartet is one of the leading tango ensemble in Israel. The group, formed by classically trained musicians, has been in existence since 2003 and provides tango "shows" as well as performing as a chamber group and with symphony orchestras as in today's video. Their repertoire covers the full range of tango music which they present with respect and authenticity. Members of the group are Amijai Shalev on bandoneón, Hadar Cohen on violin, Shachar Ziv on piano and Rinat Avisar on contrabass. I believe that all but the violinist are part of the original 2003 quartet. Pitango has recorded two CD's of tango music but they are difficult to find outside of Israel. You can find and purchase a limited selection of their music at their myspace website.

Invierno Porteño was the final of the four seasons composed by Piazzolla and the only one in which he purposefully inserted an hommage to Vivaldi. While originally composed for a quintet it is frequently played in orchestral arrangements, the most famous being those of José Bragato and Leonid Desyatnikov. The former is a bit formal but authentic; the latter is a delight to the ear but takes many liberties with the score. Mr. Vogel's is quite different and in many respects better than the others. It opens with beautifully written bandoneón solo - a perfect overture to the piece which captures both the Vivaldi and the tango essence embedded in the work. Mr. Vogel is a skilled bandoneónist himself and that skill shows in the this opening gem. The piece then moves alternatively but seamlessly between sections scored for full orchestra and for the quartet. The audience receives the full impact of an orchestral work but also has the opportunity to hear portions of the work in something closer to the original format. You will find Pitango and the Netanya Kibbutz Orchestra performing the other three seasons at the CarouselArtists YouTube Channel.

So, who are you gonna call? Mr. Vogel is an "arranger for hire" with a specialty in tango music. If you want a special arrangement of a Piazzolla work for your ensemble, give him a call at (011) 5197-6461 in Buenos Aires (or an email here).

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To learn more about Piazzolla videos, visit the Piazzolla Video site.

Follow Piazzolla on Video on Twitter.