Xena Tango: “Le strade de tango da Genova a Buenos Aires”

Tango is assumed to be Argentina´s legitimate heritage. In fact, tango is inscribed on the “Representative List of the Intangible Cultural Heritage of Humanity” since 2009, and “considered one of the main manifestations of identity for the inhabitants of the Río de la Plata region”. Yet, to be true, tango has different parents and a multitude of ancestors. The Xena Tango project reminds us that the tango has roots in Italy, too, and that tango was also shaped by the emigrants from Genova who came to Buenos Aires in the late 19th century.
The parents of this ambitious project, consisting of an album with 12 songs (plus two bonus tracks) and a 254 pages book with background material (in Italian language), are Roberta Alloisio (Italian singer and actress), Luis Enríquez Bacalov (Argentine pianist and Oscar decorated composer), and Walter Ríos (Argentine bandoneonista and composer).
As composers of these 12 songs which follow the trail of the immigrants from Genova and Buenos Aires, we find the Argentine tango icon and singer Carlos Gardel (1890-1935), Argentine violinist Juan de Dios Filiberto (1885-1964), Italian composer Umberto Bindi (1932-2002), and several contemporary musicians from Genova who contributed songs for this project, i.e., songwriter and playwright Gian Piero Alloisio (brother of the project´s singer), rock singer Vittorio De Scalzi, singer Carlo Marrale, singer Ivano Fossati, Corsician singer Stéphane Casalta, and Roberta Alloisio herself - and, to finally reach the literal harbor of Buenos Aires, the Argentine singer Pablo Banchero, the "official singer of the Republica de la Boca" (the quarter in Buenos Aires where the Italian emigrants settled at the end of the 19th century). Following the “Street of Tango from Genova to Buenos Aires” we consequently hear these songs in Spanish language and Genoese dialect, respectively (the lyrics are kindly printed in up to four languages, i.e., Spanish, Genoese, Italian and English).
Most of these songs were recorded on both sides of the Atlantic, in Rome (arranged for a full ensemble of strings, brass section, bandoneon, piano, guitar and drums, and conducted by Luis Barcalov) and in Buenos Aires (arranged for piano, bandoneon, guitar, doublebass, drums, and conducted by Walter Ríos).
What catches our ears first is the warm and expressive voice of Roberta Alloisio, the pleasant arrangements of her collaborators, and the sensitive interpretations of enrolled musicians (inclusively guest singer Pablo Banchero in the song “Genova”).
This album convinces with several highlights, i.e. Carlos Gardel´s “El Dìa Que Me Quieras”, “Milonga Do Magon” written by Pablo Banchero & Roberta Alloisio, Stéphane Casalta´s hymnic ”L'angelo Custode”, Vittorio De Scalzi´s touching “Barbon” (sung with proud sadness and restricted pathos), and the heart breaking “Mi No Veuggio Ëse Mi” written by Gian Piero Alloisio: “Me, I don´t want to be myself. I want to be a handkerchief in the hand of a girl getting married in San Lorenzo tomorrow morning. I´ll be the dress, the bride, the incense. I don´t want to be a woman, I want to be a voice that sings, an orchestra that plays.”
When we here these songs, we become aware that we share the same dreams, the same hope, the same sadness, the same life – maybe at different places and different times - yet, it is the same heart which beats on both sides of the Atlantic.

Xena Tango´s website: https://www.facebook.com/xenatango

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Paula Castignola: Un cielo de serenata

Sometimes, when you are filed up with too much exertive modern tango music with (seemingly) arbitrary melodic and harmonic progressions, and unexpected change of motifs, and you feel irritated and uneasy - than it might be a good idea to turn to some simple classical tangos which are merely beautiful. Nothing more - and nothing less.
Paula Castignola´s album “Un cielo de serenata” is such a candidate: A typical tango orchestra is simply doing a good job to accompany a singer with a warm and appealing voice singing classical tangos and some contemporary compositions, ranging from Francisco Canaro (1888-1964), Carlos Gardel(1890-1935), Anibal Troilo (1914-1975), Héctor Stamponi (1916-1997), AstorPiazzolla (1921-1992) to Eladia Blázquez (1931-2005) and Paula & Gustavo Castignola. 
As musicians we hear Cristian Zárate on piano, Juan Pablo Navarro on double and electric bass, Carlos Corrales on bandoneon, Pablo Agri and Raúl di Renzo on violins,  Benjamín Bru on viola, Diego Sánchez on violoncello, and in some songs Ricardo Lew on electric guitar and Hernan Corrales on drums.
Eladia Blázquez´s vals “Un cielo de serenata” is the opener, other classical tangos follow and entrap the listener and the dancers with a pleasant atmosphere. Carlos Corrales´ orchestral arrangements and Paula Castignola´s voice are dynamic and ifind their way to the listeners heart. Let´s call it music which suits.
“Brucia la terra”, written by the Italian composer Nino Rota (1911-1979) for the movie “The Godfather”, is a highlight of the album: a beautiful melody, a dynamic arrangement, and a sensitive  interpretation - warm-heartedly and touching. Also “Navidad Porteña” deserves attention because it was co-written by Paula Castignola and her father Gustavo, who transmitted his passion for tango music (and pasta) to his daughter. “Italian blood and passion for tango”, as the singer says.
Pedro Maffia´s “Cornetin” (from 1942) reveals a more light-footed site of Paula Castignola: accompanied by (funky) electric guitar, e-bass, drums, piano and bandoneon (and guest singer Emiliano Castignola), this milonga spreads high spirits. Also Alfredo Malerba´s salsa-milonga “Ropa Blanca” (from 1943), a further highlight of the album, surprises the dancers with a great grooving band (with slapping e-bass, drums, funky guitar licks, and jazzy piano lines): Difficult to resist.
All in all: If you prefer a good balance of lyrical and dynamic tangos which provide a pleasant and a bit nostalgic atmosphere, you may be perfect on Paula Castignoli´s side. 

Artist´s website: http://www.paulacastignola.com/

Ariel Ardit: “Aníbal Troilo 100 Años”

With this album, Ariel Ardit and his `orquesta tipica´ (with 3 violins and 1 viola, 4 bandoneons, 1 double bass and 1 piano) celebrate the 100<sup>th</sup> birthday of highly influential bandoneonista-composer-director Anibal Troilo (1914-1975).The homage includes 16 of Troilo´s `Golden Age´ hits (ok, “Desencuentro” was published 1962) and one contemporary song dedicated to the “Thick Angel” (“Angelito Gordo”, written by Javier Sanchez). 

The project started as a `spontaneous idea´ when Ariel Ardit and his pianist-arranger-director Andrés Linetzky were waiting at the airport. The singer explained that he was moved by Aníbal Troilo's sound and sensitivity. His distinctive format was an exquisite `orquesta tipica´ - and the simple fact that today Ariel Ardit and his ensemble have a similar approach encouraged them to take the “historic opportunity to honor him on his 100^th birthday”, the vocalist commented.

Andrés Linetzky has carefully adapted the old tangos for today´s audience, and has preserved the `old spirit´ with sensitivity and good taste. The pleasant arrangements are focused on the outstanding vocalist rather than on the orchestra, and no one would complain about it. Although Ariel Ardit has to compete with the original singers of the classical tangos (i.e., Francisco Fiorentino, Jorge Casal, Edmundo Rivero, Floreal Ruiz, Roberto Rufino, Roberto Goyeneche etc.), he definitely can keep up with the `old guard´. From my point of view, he leaves several of them behind.

Ardit refers to the tango tradition which endured from generation to generation. This album full of bitter-sweet nostalgia certifies that the old songs are still vital and very attractive in their new clothing. Not surprisingly, Ariel Ardit mentioned that Troilo´s “tangos bring us closer to the purest reflection and deep feelings." The singer and his orchestra interpret the compositions with passion and dynamic verve, and a bright shining smile because they do know that they already have us on their side.

This review will appear in issue 1 of Modern Tango World

Derrotas Cadenas: Escucha el Ruido

The quartet Derrotas Cadenos was founded in 2009 by the composers Pablo Gignoli (bandoneon) and Bruno Giuntini (violin); later on Juan Pablo (piano), and Rodrigo Loos (double bass) joined the team. Their 2012 debut album is tango mostly in its experimental `nuevo´ style, and obviously the composers try to fathom the boundaries of the tango genre.

The starter “El Hambre Mata” is a disquietingly song which holds appeasing parts, but turns back to propellent rhythmic pattern... hunger kills. Also the energetic “Vanguardia vieja” has these quite phases, but 1:54 minutes are too short to ease the old vanguard´s mind. Thus, why not give the melancholic  “Solo” a try? Yet also this song has another face (and an accentuated pulse). This ambivalence of almost all songs is an efficient stylistic device which makes it attractive to listen.      

The 1:51 minute “Patada demente” starts with a `disharmonic´ rhythmical structure which later on allows a violin to shine through the sudden widening of tonal space, yet entraps in the chaotic rhythmic structures again. “Veneno” is one of the few songs which is primarily atmospheric with sad piano chords, blue violin and bandoneon lines, double bass solo played with bow… - and no one knows where the sun may start to shine as an antidote to this sad poison.
“Los sueños de roma” starts as an agitating sound chaos which turns to a highly reduced arrangement with legato melody lines: There might be beauty within, but we have to wait for its delivery – and it might be that it is all without any hope.   

This music score is most appropriate for the concert hall, and surely will challenge the dancers. It is definitely `true music´, not written to tell some beautiful lies about bright sunshine and blue skies above. Dealing with this album means to leave your own expectations and trust this excellent quartet.  

Ezequiel Uhart Quinteto: “Tango Asesinos”

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

Carel Kraayenhof Ensemble: "Liberación"

Sometimes music projects turn out to be more than accidental collections of some songs. 
The review of composer-arranger-bandoneonista Carel Kraayenhof´s new project Liberación will be published first in one of the next issues of the German language Tangodanza.Later on, I will post the English langiage version here.  

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