El Barrio’s… tango’s breath
To play tango is not enough to read a score. It should give the sound of that argentine melancholy so different from the brazilian saudade. And even if it were not enough that this breath tango that represents an almost biological sensual vitality and at the same time virtual sense of rhythm steeped in nostalgia of this that speaks of the past.
From Piazzolla, tango has to be rediscovered a form that can be visited by jazz and jazz musicians. In fact, together with the autochthonous component (indigenous, popular music) there is a latin and african element (starting from habanera) that also affects the particle fragmentation of every binary (as in milonga).
Sertango quartet, with Virginio Aiello on hammond and piano, Ivano Biscardi on accordion, Bruno Aloise, on guitar and Corrado Aloise on drums, speaks that language takes on its emotional impulse, even dramatized it, in the song that gives title to the disc, and it sequences photographer memorial sites.
Musicians, classical extraction, and propensity jazz, interpreting the classics, but are also unpublished, as Fugato, movements Bach and improvisations spiral, or introspective and poignant Goon and passionate Zarathustra with elaborate arrangements in which the instruments converse in a mild and intense dreams through sound and original. Then Por una Cabeza, Oblivion and of course, Piazzolla’s Libertango, tango in its revolution, has turned into songs of yearning from the land of “our” Piazzolla, Pugliese, and Cadicamo, arbereshe origins, which gave poetry the music of Gardel.
Magazines main reference: Musica News, Corriere del Sud, Redazione Unical
This article is available also in: Italian