Donnerstag, 8. Januar 2015
Ariel Hernandez: „Summer Tango“
So here is Ariel Hernandez´s new album „Summer tango“ (Random/Warner, 2014), a colorful mixture of contemporary tangos veering towards jazz with some rock flavors here and there. The 9 instrumentals (+ 1 additional track) are by no means `traditional´ - although they have their roots in the tango tradition; in fact, they expand the genre with interesting rhythmical pattern and progressions, and are thus very `modern´.
As a bandoneonista, Hernandez´s instrument is clearly in the forefront, accompanied by a versatil ensemble - that is Martín Robbio on piano, Juan Fracchi on double-bass, Demián González Premezzi on drums, Paloma Bica on violin, and further Ignacio Basile and Sebastián Barbui on guitars in some songs.
The album starts with the fulminant composition “Marchello” which prepares the listener to await a set of fascinating new pieces of music. This song has a catchy hook line, and a great pushing drum pattern. To surprise the listener, the second song (“El Lago”) is a fine atmospheric song with a simple but catchy melody played by piano and violin, accompanied by light bandoneon figures, and drum beats. One could feel a fresh breeze at a great wide lake with sailing ships. “Summer tango” comes along as a jazzy `lounge standard´ inclusively the sound of stirring jazz brushes on the snare drum. “RG” starts with rhythmic guitar pattern, and continues with a nice pop chorus carried on by the bandoneon, interesting atmospheric breaks, and thus eliciting feelings of bright easiness. “Canción De Julia” is an impressive song starting with the sound of playing children in the background and a slow bandoneon lines, turning to an intensive song with complex drum pattern, a good melodic progression, and solos of bass, piano, and violin– very intense! “Ituzaingó is a further composition of Hernandez which deserves attention, also “La Nave Cadmon, a slow great grooving song with a transparent arrangement.
When asked for his musical influences, the Buenos Aires composer Ariel Hernandez mentions NeoTango icon Astor Piazzolla and Classical Tango icon Anibal Troilo, but also Jazz musician Hermeto Pascoal, and Rock musician Sting. Yet, one has to admit, these influences are clearly in the backside of this album; Hernandez is a very authentic and discrete composer and musician.
Are these songs inspiring the dancers? I would argue that the music suits best in a lounge with a foot tapping audience and big smiles on their face.
A shorter version will appear in issue 1 of Modern Tango World