Tribute to the emblematic albums “Libertango” and “Reunion Summit” by Astor Piazzolla, on the 50th anniversary of the release of both.
The virtuous “Escalandrum” They fulfilled a dream last night. The jazz sextet led by the drummer Pipi Piazzolla which celebrates 25 years with its original formation, arrived at the Teatro Colón to pay tribute to the emblematic albums “Libertango” and “Summit meeting” of Astor Piazzollaon the 50th anniversary of the release of those albums released in 1974. “My grandfather brought me to Colón when I was 7 years old and whispered in my ear ‘I arrived’,” recalled his grandson Pipi in reference to the 1983 concert, and confessed that He also felt that he had arrived. He seemed excited and amazed in front of a Columbus that overflowed from the stalls to the top of the chicken coop, with an audience that sold out tickets for the only concert they offered in that lyrical temple, the most important in Latin America.
With Piazzolla on battery, Nicolas Guerschberg in piano and arrangements (“who knows the most about Piazzolla in the world, responsible for rescuing concerts and arranging them so we can play it,” Pipi explained), Mariano Sivori on double bass, Gustavo Musso on alto sax, Damián Fogiel on tenor saxophone and Martin Pantryner on bass clarinet and baritone sax, Escalandrum gave a recital to remember. They opened with “Reunion Summit”, that great album recorded with the saxophonist Gerry Mulliganwho at 47 was at the height of his career after leading the octet of Miles Davis and lead the quartet without piano with Chet Baker. It has seven compositions by the Argentine bandoneon player and one by the American, where the academic rigor and obsession of Piazzolla they amalgamate perfectly with the improvisational and free spirit of Mulligan.
The concert at the Colón opened with “Deux tango” and they continued “Close your eyes and listen”, “Reminiscense” and “Years of loneliness.” There were moments of brilliance for each of the members of this vibrant and perfect sextet, giving piano, sax or clarinet solos, and always the drums of Pipi, who acts as a teacher in his explanations about rhythm while having fun with his pedagogy and anecdotal Watching each of the musicians while they play their instrument is a delight, and perhaps it is more enjoyable to see them without playing, admired and harmonized by the solos of their companions, in that celebratory ritual of a learning that seems eternal.
The second part of the concert came with “Violentango”, “Meditango”, “Novitango” and “Libertango”, Pee He explained that as it was a tribute to ’74, they presented “Libertango” in 7X4, combined with another background song, “Let’s go to hell”, the only one that Piazzolla composed in 7X4 and that they played superimposed.
The sublime closure with “Goodbye Nonino” gave a ten-minute musical journey in a version in which fragments of the concerts of Piazzolla from ’60 and ’83. A wonder rescued and fixed by Guerschberg. Pee He maintains that it is his grandfather’s most accomplished song, at the same time the most difficult to interpret “with an intimate, almost funereal tone, which ends like life, it goes away. There is no lack of a powerful rhythmic part with a glorious and even sad ending “, in the words of Piazzolla himself. After the audience’s applause, the encore was with “I cited tango.”
Source: Ambito
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