dreadpirateroberts
I imagine that without the Gilliam film ‘12 Monkeys’ in the 1990s, it would have taken longer for me to be exposed to Astor Piazzolla. But I’m glad it happened then, because I’ve been fascinated by the bandoneón (closer to a concertina than an accordion) ever since; it possess such a dark range, able to transform the tango into something as sinister as it is beautiful.
Of course, tango traditionalists weren’t happy with the classically trained Piazzolla’s ‘nuevo tango’ while he was developing it in the 1950s, which incorporated influences from the jazz and classical worlds, certainly evident in this album, named for his most famous composition ‘Libertango.’ Once I would have found it doubtful that an entire album could be based around the tango, but indeed it can, that was a younger, more foolish me. Glance at the list of instruments present on this release, and you’ll see that Piazzolla is ably supported in creating interesting variations of the tango.
Whether it’s the urgency that the hi-hats add to the amazing title track, with its film-score string section and sharp rhythm, or the marimba in ‘Meditango’ there are dozens of small touches that flesh out and support the at times creepy, sometimes romantic sound of Astor’s bandoneón. And it’s a powerful tool for suspense, take the stalking introduction of ‘Adiós Nonino’ – one of the more interesting pieces, complete with an great closing organ solo – or it’s follow up, ‘Violentango’ where the piano chords hold steady round a frantic rhythm section and wild dancing of Piazzolla’s fingers across the buttons. Structurally, a lot of the tangos here are more like classical compositions, possessing something akin to self-contained movements, like the wonderful ‘Meditango’ which runs a gamut of emotions, passages and tempos on its journey.
If you’ve a passing interest in tango or are looking for a new branch of Latin-jazz to explore, then look here to start, or at least, to any of the works by the ‘Great’ Astor.
