Transcendence and Inner Torment in Lesley Karsten’s Astor Piazzolla Biodrama That’s Not Tango
Over the past couple of years, Lesley Karsten has staged her mesmerizing Astor Piazzolla biodrama That’s Not Tango in larger and larger halls around New York. The project’s sold-out Jazz at Lincoln Center debut Tuesday night came across as a big victory, no matter how turbulently or quixotically she portrayed the life of the godfather of nuevo tango.
Early on we learn how his manager felt about him: “Onstage, he was a god. Offstage, he was a sonofabitch.” That quote is emblematic. Karsten sees the iconic composer and bandoneonist as a guy with a chip on his shoulder that he can’t – or won’t – get rid of, a defiant paradigm-shifter utterly consumed by dedication to his art at the expense of pretty much everything else.
She’s gone on record as surmising that he would have appproved of his role being played by a woman, and while we’ll never know the answer, it’s plausible, especially considering the quality of the musicianship behind her.
Karsten introduces him speaking posthumously – and in what could be a considerable stroke of irony, rather reflectively – from some sort of limbo. What’s he doing there? Setting the record straight, he wants us to know. The extraordinary group Karsten has assembled for this project – Brandt Fredriksen on piano, Nick Danielson on violin, Pablo Aslan on bass and the guy who may be this era’s greatest bandoneon player, JP Jofre – leap and swing and bluster through a mix of Piazzolla hits and a handful of more obscure numbers in between Karsten’s narration.
What might be most impressive about Karsten’s depiction of Piazzolla is how closely she focuses on the music. Piazzolla the character offers no shortage of drama as he rises from crippled toddler to smalltime thug, reluctantly taking up the bandoneon just to please his dad, then having a eureka moment when he hears his Hungarian neighbor playing Bach on the piano. The young Piazzolla’s dad – a hard man, and apparently a harder man to please – nonetheless was quick to act on his son’s passion. Karsten – whose background is documentary filmmaking – does not affect an accent, or a man’s voice. This tough-talking, foul-mouthed, often caustically cynical protagonist comes across as plenty macho regardless.
The band burn through the music with reckless abandon matched by expertise, no doubt due to the fact that both Jofre and Aslan are first-rate nuevo tango composers themselves. Fredriksen’s dynamism, from muted snippets of Bach, to an absolutely chilling, emotionally depleted, mostly-solo take of Soledad, to the leaps and bounds of Michaelangelo 70, ranges from flash to poignancy. Danielson, whose spare, suspenseful solo kicks off the night’s opening number, Lo Que Vendra, also gets plenty of time in the spotlight. At the end of the show, Karsten introduced Jofre as “Astor Piazzolla,” his whirlwind cadenzas and rich color palette giving voice to every shade the little bandoneon can conjure.
The noirish pulse and chromatics Piazzolla loved so much underscore just how deeply the klezmer music he heard as a kid, growing up next to a synagogue on the Lower East Side, affected him. Karsten also takes care to quote him on Bach, Cab Calloway, Ellington and especially Bartok. At the other end of the telescope, he’s even more quotable when it comes to much of tango – including a cruelly spot-on account of the kind of dancers who can be found at a milonga. There are also personal vignettes, ranging from Piazzolla’s estrangement from his children to his regrettable if tense relationship with the Videla dictatorship during the Dirty War of the 1970s.
One of the most telling moments in the show is an absolutely heartwrenching, revelatory tour through the backstory of Adios Nonino, Piazzolla’s requiem for his father and ironically one of the most traditional pieces in the Piazzolla repertoire. He’d been between sets at a gig in the Caribbean when he got the news; afterward, he went back on and played the second show of the night. Unable to communicate his grief with his family, he locked himself in his room with his bandoneon and wrote what he considered to be his greatest piece. The rest of the material on the bill focuses on Piazzolla’s most lavish ambitions, from the coy baroque allusions of Fuga y Misterio to the gritty intricacies of Tres Minutos Con la Realidad. What Ellington did with the blues, Piazzolla did with tango: this show will inspire anyone who loves his music as well as the many, many influences that went into it.
A Mighty, Majestically Orchestrated, Ambitious Album and a Vanguard Stand This Week From Alto Saxophone Titan MIguel Zenon
You might not expect Miguel Zenon to open his latest album with a cantabile pastorale, but that’s exactly what he’s done. The alto saxophonist has made some amazing records over the years – his smoldering Oye! Live in Puerto Rico from 2013 is a favorite – but his most recent one is his most ambitious yet. You could say that Yo Soy la Tradicion is his Sketches of Spain, a collaboration with the magical, microtonally-inclined Spektral Quartet streaming at their music page.
Jazz sax and strings have a history that dates back to Charlie Parker; this is a lot closer to Astor Piazzolla at his most adventurous, or Bartok, than orchestrated swing. Zenon has yet another weeklong stand at the Vanguard starting tomorrow, March 12 with his quartet and continuing through the 17th, with sets at 8 and 10:30.
The Spektral Quartet – violinists Clara Lyon and Maeve Feinberg, violist Doyle Armbrust and cellist Russell Rolen – open the album with the rather stark, almost severely precise intro to Rosario, inspired by the Catholic rosary tradition; then Zenon flips the script and builds a bubbly dance overhead that brings to mind the similarly paradigm-shifting work of Argentine bandoneonist JP Jofre. It’s catchy, almost to the point of sentimentality.
Cadenas (Chains) draws on European 20th century minimalism as well as Puerto Rican line dances, the strings’ hypnotic, insistent acerbity balancing Zenon’s folksy, airy delivery. Then the sax and quartet switch roles, a neat touch.
Yumac may have roots in rural Puerto Rican folk music – the ttile is the town of Camuy, home to popular 50s songwriter German Rosario, spelled backwards – but the music comes across as a more harmonically complex take on Ernesto Lecuona’s anthemic mashup of Afro-Cuban themes and western classical orchestration.
Milagrosa is more balmy, an unexpectedly successful mashup of spaciously sequenced postbop sax and alternately rhythmic and lush string passages, with a crescendo midway through that’s as majestic as anything Zenon has ever written.
The album’s most gorgeous track is Viejo, shifting from troubled, massed Julia Wolfe-like insistence, to an unabashedly lyrical ballad with an elegaic cello solo followed by Zenon’s broodingly wafting melody. Zenon’s tone is more biting than Paul Desmond’s, but the lyricism here is very similar.
If Bartok had a thing for Spain instead of Tunisia, he might have written Cadenza: there are also echoes of wistul, uneasy Debussy. Again, Zenon brightens the ambience, this time with flamenco allusions. Imagine Ligeti trying to reduce a flamenco tune to simplest terms: that’s the outro.
The album’s most epic track is Promesa, a diptych of sorts that refers to the Catholic festival of the Three Kings. A pensive cello solo takes centerstage over a lush backdrop that recedes to a steady, minimalist pulse, Zenon building the longest solo here from gentle pastoral colors to lively, blues-tinged spirals. Then the atmosphere shifts to artfully pulsing variations on a lively alguinaldo jibaro country dance theme.
Piazzolla, or for that matter, Lecuona would have been proud to have written the anthemic final number, based on a variant of that style from the town of Villalba. Obviously, Zenon’s Vanguard stand this week isn’t likely to showcase a lot of this material; on the other hand, with a guy who’s been known to reinvent classic Sylvia Rexach boleros, you never know.
A Lively, Richly Arranged New Big Band Album and a Smalls Show from Emilio Solla
Pianist Emilio Solla writes colorful, rhythmic, ambitiously orchestrated music that could be called latin jazz, but it’s a lot more eclectic and global in scope than your basic salsa vamp with long horn solos. Like his music, Solla is well-traveled: born in Argentina and now in New York for the past decade after a long stopover in Spain. His new album Second Half with his brilliant nine-piece ensemble La Inestable de Brooklyn – streaming at Spotify– draws equally on Piazzolla-inspired nuevo tango, Brazilian, Spanish Caribbean and American jazz sounds. Solla and his mighty group have a show this Sunday, May 7 at 4:30 PM at Smalls; cover is $20, and you get a drink with that.
The band comprises some of the more adventurous jazz players in New York: Tim Armacost on saxophones and alto flute; John Ellis on tenor sax, flute and bass clarinet; Alex Norris on trumpet, Ryan Keberle on trombone; Meg Okura on violin; Victor Prieto on accordion; Jorge Roeder on bass and Eric Doob on drums. Much as the title of the opening track, Llegará, Llegará, Llegará, implies that there’s something just around the corner, it’s a nonstop series of bright, incisive, alternating voices over a galloping, samba-tinged groove, a real roller-coaster ride, as lush as it is protean.It’s especially interesting to hear Solla’s original here, compared to the blistering cover by bagpiper Cristina Pato, which is practically punk rock by comparison.
The second track, Chakafrik has a brass-fueled Afro-Cuban flavor subtly spiced with accordion and violin and more of those intricately intertwining, polyrhythmic exchanges of riffs from throughout the group. The Piazzolla-inspired Para La Paz brings the volume and tempo down somewhat, but not the energy, lit up by warmly lyrical solos from tenor sax and trumpet up to a big, lush crescendo.
The first part of Solla’s epic Suite Piazzollana (his Spanish group Afines did the second) takes a bouncy folk theme in all sorts of directions: how do you say dixieland in Spanish? Tierra del sur? From there, Solla builds a long, exploratory piano solo, then the band take a judicious, rather tender interlude, Norris’ resonant trumpet paired against Okura’s uneasy staccato violin. The long build out from there makes the group sound twice as large as it is, with their constant exchanges of riffage.
Esencia sets bright, hefty newschool big band textures over an altered clave beat, Solla’s rather droll, vamping second solo kicking off a big, rapidfire, bustling coda. American Patrol is a jovial blend of Mexican folk and New Orleans swing – when the quote from the cartoon comes in, it’s impossible not to laugh. Raro, a bustling, cinematically swinging number, edges toward the noir, with more tasty trumpet-violin jousting and a very clever switch from dancing, staccato brass to brooding nuevo tango orchestration. The last track is Rhythm Changed, another very clever arrangement, with its understated polyrhythms and uneasy harmonies from throughout the band circulating through a pretty standard midtempo swing tune. Throughout the album, the performance is tight and driving but also comfortable: this crew obviously has a good time playing this material, and it’s contagious. Not what you might expect from a group who call themselves “The Brooklyn Unstable.”
Tango Mastermind Polly Ferman’s Global Festival Hits a Crescendo on the Upper East Side
Last night’s music and dance extravaganza at the 92nd Street Y, the centerpiece of the Shall We Tango festival – a celebration of global tango and tango-influenced sounds – started at 8, and there was still a floor full of dancers by the time the final band wrapped up at half past eleven. Organizer/pianist Polly Ferman created her own Histoire du Tango (to steal a title from the Astor Piazzolla book, richly and eclectically represented here), and this was a sweeping survey of every kind of tango. Tango as gangster music, boudoir music, serious concert music, ballet soundtrack, as part of the jazz spectrum, the classical repertoire and, arguably, the root source of all things noir: this show had it all.
There was graceful and often spectacular dancing by pairs assembled by the festival’s dance director, Karina Romero. Sometimes simply graceful, often sensationally athletic, the dancers showed off moves that would have been at home on an Olympic ice rink. Are the Olympians stealing those spirals, upside-down catch-and-release tactics and slinky motives from the tango world, or vice versa?
Ferman, a brilliant, witty, fiery performer and interpreter, played with a wicked precision and a cascading, volleying, relentless intensity in tandem with bandoneon legend Daniel Binelli, a frequent collaborator of hers. A little later, she brought out a quartet version of her all-female group GlamourTango, who celebrate women’s contributions to tango over the decades. The piano/bass/bandoneon/violin ensemble ranged from lively neoromanticism, to brassy swing behind a succession of singers, to balletesque themes and a little jazz, Ferman and her crew shifting through the idioms with effortless expertise. GlamourTango don’t seem to have any NYC gigs lined up, but lucky Milwaukeans can catch them at Latino Arts, 1028 S. 9th St. in Milwaukee on Dec 4 and 5; tix are $15/$10 stud/srs.
Bogota-based Quinteto Tango Leopoldo Federico – who take their name from the Argentine legend – aired out the Piazzolla songbook and other iconic material with a viscerally spine-tingling focus. Pianist Alberto Tamayo, violinist Miguel Angel Guevara, bassist Kike Harker, electric guitarist Francisco Avellaneda and bandoneonist Giovanni Parra stunned the crowd with a remarkably serious, moody, meticulous approach, Guevara taking the spotlight and making the most of it. The crowd gave them a standing ovation and wouldn’t let them leave without a couple of encores, the first of which sounded like a droll tango arrangement of the 1950s Big Bopper hit Chantilly Lace.
After a milonga which drew much of the audience out onto the floor to pair up while vintage, orchestrated 1950s sounds played over the PA, sizzling Venezuelan violinist Eddy Marcano and his seven-piece group leaped and bounded through a joyously animated set of folk-inspired jazz themes, bookending a darkly majestic take of Piazzolla’s iconic Libertango, anchored by the pianist’s haunting, hard-hitting, murky lefthand attack. The festival continues through Oct 15, with dance classes, milongas and a couple of shows at the Queens Theatre in the Park in Corona, across from where Shea Stadium used to be. The rest of the New York schedule of events is here.
Album of the Day 5/12/11
Every day, our 1000 best albums of all time countdown continues all the way to #1. Thursday’s album is #628:
Astor Piazzolla – Hommage a Liege
In putting this list together, we’ve tried to limit the number of albums per artist to one or two. Which with Astor Piazzolla is just plain absurd: there must be at least a dozen, maybe several dozen of his recordings that belong among the 1000 best albums ever made. Did the iconic Argentinian composer, bandleader, bandoneon player and inventor of tango nuevo put out one that stands over the rest? Frankly, no – they’re pretty much all good. We picked this dark, richly lush 1985 live album because A) Piazzolla plays on it and B) even though it doesn’t have any of his signature songs, like Libertango, it represents him well. Backed by two guitarists plus the Liege Symphony Orchestra conducted by Leo Brouwer, this is Piazzolla the classical composer rather than Piazzolla the pop tunesmith (he was both, and preferred to think of himself as the former). It’s two suites: first the epic triptych Concerto para Bandoneon y Guitarra (Intro, Milonga and Tango), then the four-part Histoire du Tango (does anybody besides us think it’s funny that the concerto is Spanish but the history is French?). This one is a musical portrait of how the style developed (with major contributions by the composer himself), from the whorehouse in 1900, to the Cafe 1930, Nightclub 1960 and Aujourd’hui (Today). If Piazzolla is new to you, get to know him via Piazzolla Radio streaming 24/7. Here’s a random torrent via musicaparalacabeza.
CD Review: The Rough Guide to Tango Revival
Although chock-full of aching bandoneon melodies, wistful and anguished strings, the Rough Guide to Tango Revival is not a particularly rough-edged compilation – but it’s definitely a global one. Compiler Chris Moss is a former Buenos Aires resident and an enthusiastic fan of the classics but doesn’t have much use for (or seemingly much knowledge of) tango nuevo, therefore, no Avantango, let alone Federico Aubele. Most of the cuts here are instrumentals, three of them Astor Piazzolla covers; in addition to the Argentinians, the artists here hail from such unexpected places as Romania and Holland. Hardcore tango fans get plenty to sink their teeth into here (and dance to, with the exception of three numbers with uptight,mechanical drum machine rhythm): as a starting point for newcomers, it’s as good a place as any to start your journey into the heart of tango’s darkness, although you might first want to stream Radio Piazzolla.
Argentinians Selección Nacional De Tango (which translates roughly as “Tango Allstar Team”) bookend the album with a dynamic-laden, richly orchestrated version of the iconic 1917 composition La Comparsita (The Little Parade) and the even lusher, wilder abandon of their version of the Piazzolla classic Adios Nonino. Their countrymen Orquesta Color Tango De Roberto Alvarez also get two tracks here, Piqueteros (Protesters) surprisingly blithe in light of its subject matter, and – the aptly titled Quejumbroso (Querulous) – homage to legendary bandleader Osvaldo Pugliese – with the uneasy staccato of the bandoneon battling the lush strings behind it.
La Madrugada (Daybreak) by Orquesta Típica Fernandez Fierro, a cover of the Angel Maffia composition is delivered in raw, fiery fashion as befits an “orquestra tipica,” i.e. oldschool group. Hungarian group Quartett Escualo makes the connection between gypsy music and tango in the Piazzolla classic Fuga Y Misterio , guitar, bandoneon, piano and strings all shadowing each other, then morphing into a dreamy extended string passage. Dutch bandleader Carel Kraayenhof bravely tackles more Piazzolla – Libertango – and dexterously puts his own stamp on it, a marvelously echoey piano-and-percussion first verse (is that tap dancing?) giving way when the rest of the band comes swirling in. German combo 6 Australes contribute La Lujanera, setting a tongue-in-cheek hip-hop lyric over a noirish cabaret arrangement, its dramatic Weimar vibe evoking a Spanish-language Dresden Dolls. Argentinian ensemble La Camorra’s La Maroma is the most intense number here, a vividly noir evocation that builds menacing ambience with a somewhat explosively percussive staccato intensity And Romanian chanteuse Oana Catalina Chitu’s Zaraza benefits from vivid Balkan tinges, especially with the strings, enhancing the unease behind the warmth of her voice. The more modern stuff here (other than a woozily fun if totally out-of-place reggaeton track by Melingo) suffers from overproduction despite some clever manuevering: no matter how clever the composition, it’s no fun dancing to a drum machine if you know what a real milonga is like.
For those wanting more of a raw edge, it doesn’t get much more raw than the rustic, remastered bonus cd of legendary oldtime tanguero Carlos Gardel, old 78 RPM scratches and all. It’s just acoustic guitar and vocals, Gardel’s mannered vaudevillian delivery quite a contrast with the frequently sly humor of the lyrics.
CD Review: Katya Grineva – Love and Fire: The Dances
The latest album by self-described Romantic pianist and Carnegie Hall favorite (she’s playing there on June 12 at 8 ) Katya Grineva is a treat for fans of canonical 19th century favorites, proudly idiosyncratic and unabashedly individualistic. Grineva was seemingly born to play the Romantics, wringing plenty of angst and longing out of a mix of familiar standards, Piazzolla classics and a perhaps predictably but aptly emotional take of the Ravel Bolero. On both the Chopin Mazurka in A Minor and the Waltz in E Minor, she mines the dynamics for heart-tugging shifts that stop just this side of overwrought – yet, by contrast, she lets the Albeniz Tango breathe for itself, a smart move. Granados’ Planera Spanish Dance is likewise allowed to shimmer and gleam, at a tastefully stately pace.
Most impressively, it’s the Piazzolla that best draws out Grineva’s intensity. Adios Nonino, a requiem written right after the death of the composer’s father, is stoic yet wrenching. An abbreviated arrangement of the sprawling crazy-love anthem Balada Para Un Loco is considerably more blazing and percussive than the original, and Grineva careens through its louder passages like a woman possessed, after which Manuel de Falla’s Ritual Fire Dances makes a perfect segue. The Bolero alternates between slinkiness and impatience, a nice contrast to see in a piece where some performers find none at all.
Grineva’s Carnegie Hall show this week is billed as a family-friendly event, lots of familiar standards by Debussy, Satie and Chopin and others delivered with characteristic verve: bring a 15-year-old friend, family member or someone who looks hopelessly underage, and they get in free with your paid admission.