Ezequiel Uhart is one of those young musicians who have studied bandoneon and tango arrangements, and turns out to be an interesting composer of very vital contemporary tangos. The new album of the Ezequiel Uhart Quinteto “Tangos Asesinos” combines influences of traditional tangos and the nuevo style. The music is always `typical´ (in a good way), and thus invites the dancers with their specific expectations.
The transparent sound of the album is due to Ezequiel Uhart (bandoneón), Juan Ignacio Esteguy (piano), Pedro Sotelo (violin), Federico Ghazarossian (double-bass), and Pedro Cecchi (electric guitar) – and singer such as Ariel Brukman (in “Jugador”, “Luciernaga”, “Paquito y sus Manzanas”, “Pibito”, “Puente Pueyrredon”, and “Que si que no” ), Javier Cardenal Dominguez (in “Mal Dia”) and Anita Co (in the vals “Quien te dice”).
“Tango Asesinos” comes up with a bunch of 12 different songs (two instrumentals), ranging from vibrant milongas to beautiful slow tangos, all written by Ezequiel Uhart. “Milonga Para no Volver” for example is a Piazzollaesque atmospheric instrumental with beautiful melodies (inclusively jazzy guitar solo) and passionate peaks with the full “orchestra” - for me, one of the outstanding songs of this album. Providing some contrast, the syncopated “Paquito y sus Manzanas” offers ab intensive interpretation by vocalist Ariel Brukman, and dramatic rhythmic eruptions of the band.
What I like most is that these tangos have dynamic rhythmic arrangements with a clear pulse, and seductive melodies. The involvement of Ariel Brukman as a singer (reminds me somewhat of Daniel Melingo) is a piece of luck for the quintet, because he adds a very unique dimension which attracts the listener of great songs.
When Ariel Uhart stated that “the Quintet´s idea is to compose new tangos that are danceable, without depriving the exclusively listening public from musical richness”, one has to admit that he is right. - These songs invite to dance, and are beautiful for the listeners too.
A shorter version will appear in issue 1 of Modern Tango World