Just music or call it TANGO

Dino Saluzzi si bandoneonul fermecat

Odata cu Tangoul  ne-am deschis si catre muzica de tango.

Stiam ca Bandoneon =Tango,  sau Nuevo Tango si asta pana la intalnirea cu Dino Saluzzi si Anja Lechner in albumul "Ojos Negros (2006)".

O muzica de ascultat, nu de dansat la o milonga, insa, asemeni altor muzicieni din aceasta categorie, folclor argentinian si muzica de avangarda, cum ar fi maestrul   Ástor Piazzolla, Dino Saluzzi atinge sufletul la corda lui sensibila.

Va recomand sa ascultati, cu drag...bandoneonul lui Dino Saluzzi intr-un amestec de jazz, muzica de camera si tango, o combinatie armonioasa dintre un violoncel si un bandoneon.

Ca de fiecare data bandoneonul atinge si modeleaza emotii si sentimente. Violoncelul il completeaza, indulceste, creeaza arabescuri, te urca pe culmi si te arunca in abisuri. 

Before Tango is The soul!

Ascultati cu atentie, se poate ca si sufletul sa va vorbeasca.

Nu este o muzica ce sa inveseleasca ci una care sa deschida porti catre suflet.

Acustic au reusit o armonie perfecta.

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"It's not a happy music in the strictest sense, but displays an inward joy not readily discernible. So as a listener, you are required to pay close attention to not only the sounds produced by these two extraordinary musicians, but also to the warmth and slowed beat of your heart".

sursa: Allmusic a  review by Michael G. Nastos

DINO SALUZZI/ANJA LECHNER

“Ojos Negros” 

(ECM)

The art of the Argentine bandoneón player Dino Saluzzi occupies the gray areas among tango, jazz and classical chamber music; he was part of the development of Tango Nuevo in the 1960s. “Ojos Negros,” his new duet album with the classical cellist Anja Lechner, is a slow, luxurious version of that gray. It relates to specific musical styles and histories only in passing. Moving through original harmonic routes, thick with intelligent emotion, the record is original, easy to understand and difficult to absorb. Its small dramatic gestures keep momentarily stunning you, and it takes a while to make out the overall architecture of each piece.

This music doesn’t fetishize its tempos or make an intellectual game out of them. It’s just that a contemplative crawl is natural to most of these songs and melodies and suited as well to the instrumental tones and the improvisational language of the two musicians. The compositions are all Mr. Saluzzi’s except for “Ojos Negros,” written in the early 20th century by the bandoneonist Vicente Greco, but they all have an outside-of-history feeling.

Ms. Lechner, who plays with the Rosamunde Quartett, started working with Mr. Saluzzi 11 years ago, and sometimes onstage they have played complete pieces improvised from scratch. That doesn’t happen here, but it’s clear how well the musicians know each other’s movements.

The compositions follow very defining harmonies, with the chord movements and rhythmic feeling of tango continually rising to the surface, then retreating. But the musicians incorporate loads of improvisation in rhythm and phrasing and gesture too, which gives a loose and open feeling to serious-minded music.

Some of its charms are atmospheric or acoustic. It’s a typical ECM production, enlarged with reverb. You hear, quite clearly, the clicking of Mr. Saluzzi’s fingers on the buttons of his instrument; you hear the throb of Ms. Lechner’s cello as its sound waves collide with the bandoneón’s; you feel in your sternum Mr. Saluzzi’s almost violent surges of power, working up to long, long notes that suddenly vanish. 

sursa: New York Times a  review by BEN RATLIFF

alte surse:  All about jazz, ECM