That’s Not Tango – Astor Piazzolla, A Life In Music is a
project imagined by Lesley Karsten and written by Karsten and Stephen Wadsworth.
The show will be presented at The Appel Room in Jazz at Lincoln Center’s
Frederick P. Rose Hall on July 30 and 31 at 8:00 p.m. (Previous versions of the
show have been performed at Joe’s Pub and SubCulture in New York City, as well
as in New Orleans, Louisiana and Fort Myers, Florida.)
“The premise is simple,” says Karsten, who gives voice to the great Argentine bandoneon player and composer Astor Piazzolla on stage. “He’s dead, hates it and returns because he has unfinished business – with himself. He has regrets, struggles with isolation, memories of love lost. He gave what he had to give – and the music is astonishing – but he needs to set the record straight. There’s a price to be paid for immortality.”
Staged by Broadway director and co-writer Stephen Wadsworth,
That’s Not Tango (the title mocks an old, familiar complaint among tango
aficionados about this music) features Karsten and a quartet comprising JP
Jofre on bandoneon (button accordion), Piazzolla’s instrument; Nick Danielson
on violin; Brandt Fredriksen on piano and music director; and Pablo Aslan on
That’s Not Tango is both drama and chamber concert. “With That’s Not Tango, first and foremost I want the audience to be moved. I want them to have an experience,” says Karsten. “As for Astor, he’s clearly a genius. His music affects people quite profoundly. But as a human being he was flawed – and we’re still accountable for our choices no matter what kind of genius we may possess.”
Tuesday, July 30, 2019 at 8pm & Wednesday, July 31, 2019 at 8pm The Appel Room Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street New York, NY 10023 Event link: www.thatsnottango.com/jalc
Che Apalache, a remarkable group featuring North Carolinian and Argentine Musicians is currently touring the United States and is set to perform on Friday, April 26th at The ArtsCenter in Carrboro, North Carolina. The current tour includes the East Coast and Midwest and ends in California.
The ensemble’s Latingrass style is described as a mix of South American music and bluegrass. Last August they were discovered by renowned banjo player Béla Fleck, who offered to produce their next album. This past February, Che Apalache traveled to Nashville and recorded the album, which will be released in the summer of 2019 on Free Dirt Records. Three more U.S. tours are scheduled for 2019, including major bluegrass festivals, Universities and Performing Arts Centers, along with showcase clubs.
Che Apalache’s founder, Joe Troop (fiddle) is from Winston-Salem, North Carolina and moved to Argentina in 2010. While slowly carving out a niche in the local music scene, Joe taught bluegrass and oldtime music for a living. That’s how he met Mexican Pau Barjau (banjo), and Argentine musicians Franco Martino (guitar) and Martin Bobrik (mandolin). What began as a band formed between a teacher and his students has evolved into a rich musical collaboration that addresses social issues to bridge the gap dividing the Americas.
The ArtsCenter is located at 300-G East Main St. Carrboro, NC 27510, (919) 929-2787.
Che Apalache is the demonstration
of a powerful cultural and musical exchange. Formed in the urban neighborhoods
of Buenos Aires, the string band ensemble draws intensely from the musical
traditions of the Southern United States and Latin America.
The group’s founder, Joe Troop
(fiddle) is from Winston-Salem, North Carolina and moved to Argentina in 2010.
While he gradually carved out a niche in the local music scene, Joe taught
bluegrass and old-time music for a living.
Joe met Mexican artist Pau Barjau (banjo), and Argentine musicians Franco Martino (guitar) and Martin Bobrik (mandolin). What started as a group created between an instructor and his students progressed into a rich musical collaboration that brought together bluegrass and South American music.
The band’s debut album Latingrass, came out in 2017.
American banjo player banjo
player Béla Fleck produced their next album in Nashville, scheduled for release
in the summer of 2019 on Free Dirt Records.
Tango vocalist Maria Elena Martínez, better known as Mariel Martínez, was born March 28, 1980 in Villa Crespo, Buenos Aires, Argentina.
As a teenager, Mariel studied music and singing at the Escuela Popular de Avellaneda guided by Chocho Ruiz and Aníbal Arias.
She was become one of the leading performers of classic Argentine tango. Mariel moved to Madrid in 2002 and has toured many European countries since then.
In 2005, Martiel formed a duo with electric guitarist Alejandro Picciano. They experimented with jazz-infused tango. Famed Argentine musician and producer Litto Nebbia offered to record an album for his Melopea label in Buenos Aires. De mi barrio, was released in 2008 in Spain by Factoría Autor. The recording featured Carlos Quilici on bandoneon and Tancredo on violin.
In 2010, Mariel traveled back to Argentina for a tour. She recorded an album at Litto Nebbia studios in Villa Urquiza titled Perfume de tango. The lineup included Alejandro Picciano, Litto Nebbia, Carlos Buono, Pablo Agri, Federico Boaglio and Carlos Quilici.
Back in Madrid, Alejandro Picciano put together an ensemble called La Porteña Tango Trío along with Federico Peuvrel on piano and Fernando Giardini on bandoneon. The trio became Mariel’s regular band.
While on tour in Buenos Aires, Mariel recorded an intimate album of old tangos titled “Esos otros Tangos” (“Those other Tangos”) in 2012, accompanied by Alejandro Picciano on guitar. “Esos otros Tangos” was nominated to Best Album by a Female Tango Artist at the Premios Gardel 2014.
In 2017, Mariel released “Templanza” accompanied by the Fabián Carbone Sextet. Bandoneon maestro Fabian Carbone recovered and used the original handwritten arrangements of the legendary Anibal Troilo orchestra.
Argentine bandoneon player, composer and arranger Rodolfo Mederos was born March 25, 1940 in Río de la Plata.
As a composer, Rodolfo Mederos covers a wide spectrum, from traditional tango to symphonic pieces for different instrumental groups. As a performer, he expresses deep-felt musicality. In the 1970s Mederos was one of the few tango musicians who collaborated with progressive rock musicians. Todo Hoy is an example of this kind of work.
Mederos is also a teacher and writer of both bandoneon-related matters as well as tango composition and orchestration.
He lived in Cuba and France and then returned to Argentina, where he founded the influential Generación Cero.
Rodolfo Mederos has collaborated with numerous Argentine artists as well as flamenco vocalists Miguel Poveda and Enrique Morente.
Raúl Carnota was a guitarist, composer and singer who spent many years exploring Argentine folk music.
He was born October 30, 1947 in Almagro, in the city of Buenos Aires. At the age of 9 he learned how to play percussion and a few years later he learned how to play guitar.
During high school he started to compose and perform in public. His influences were American rock and Argentine music.
Carnota’s first professional experiences were as an accompanist from 1974 through 1979. During that period he performed with Cuarteto SurLos Huanca Hua, Adolfo Abalos, Susana Rinaldi, Trío de cuatro, Enrique Llopis, Hamlet Lima Quintana, and Armando Tejada Gómez y Silvia Iriondo.
In 1979, Carnota formed his own band, together with percussionist Rodolfo Sánchez and pianist Eduardo Spinassi. The group played new instrumental music based on traditional songs and Argentine folk rhythms.
In 1993 he started a quartet together with Sanchez – Saba – Chiodi. In 1998 he went back to the quartet format with Sanchez and Gonzalez. One of the final lineups was a trio with Juancho Perone and Juancho Farías Gomez.
In addition to live performances, production work and recordings, Carnota composed music for theater: Milagro en el Mercado Viejo (1985), El Fuego (1986), De Ilusiones y Porfías (1987), La Salamanca (1991), Galileo (1995).
Raúl Carnota passed away on September 27, 2014.
In 2015 he received a postmortem award for best Argentine folk music singer in the past decade.
* Como un pájaro libre, with Mercedes Sosa (Polygram, 1982)
* Suna Rocha (Polygram, 1983)
* Esencia de mi pueblo (Polygram, 1984)
* Memoria adentro (Polygram, 1958)
* Este es Raúl Carnota (Polygram, 1986)
* Entre la ciudad y el campo (Confluencia, 1987)
* Contrafuego (Melopea Records, 1994)
* Reciclón en vivo (Aqua Records, 1998)
* Fin de siglo (Aqua Records, 1999)
* Solo los martes (Aqua Records, 2000)
* Espejos 1 (Aqua Records, 2001)
* Espejos 2 (Aqua Records, 2001)
* Retrospectiva (Aqua Records, 2006)
Composer, arranger, producer, multi-instrumentalist and singer, Pedro Aznar is one of the most prestigious and respected artists to emerge from South America in recent times.
His far-reaching experience includes being a founding member of Seru Giran, one of the most influential rock (classic rock, progressive rock) groups in Argentina, and his three-time Grammy Award winning work with the internationally acclaimed Pat Metheny Group. He’s also a celebrated pop singer.
The writer of several movie scores, he has also published a book of poetry, Pruebas de Fuego Ordeals by Fire.
Pedro’s virtuoso bass playing and unmistakable vocal style, explores the roots of Argentine and South American music from a broad base, as respectful of old traditions as it is open to new directions.
On his 2006 recording, A Roar of Southern Clouds, Pedro Aznar led the listener on a journey through a rich musical tradition ranging across three continents: the ancestral song of the Andean peoples, the rhythmic legacy of Africa, and the European musical heritage, all seen through a contemporary prism with many facets.
Pedro worked with David Lebón in 2007, releasing an album titled Aznar-Lebón. That same year he was appointed as Musical Director of Estudio Urbano, the first institution to teach all things related to the music industry, with free of charge access to all courses and facilities. He also co-produced with Shakira two songs for the Love in the Time of Cholera soundtrack. The film is based on the novel by the same name by Gabriel García Márquez.
Also in 2007, Aznar performed “Canterurías”, by Chabuca Granda, for “Folklore por los chicos”, a benefit album for Garrahan Pediatric Hospital .
In 2008 Aznar recorded and co-produced with Roger Waters a song for the Alas Foundation, a not-for-profit organization created to improve education, nutrition and health programs for Latin American children. The recording also features Gustavo Cerati and various guest artists.
Aznar won the Gardel Award in 2008 the Sound Engineering category for the Aznar-Lebon album, with Ariel Lavigna and Andrés Mayo.
He formed a new band that same year with Federico Dannemann and Julián Semprini, and played a concert at Alas – The concert for children. The festival, which took place in Buenos Aires and Mexico City simultaneously, was heard live by over 400,000 people, and seen on TV by 200 million. The featured artists were, among others: Shakira, Alejandro Sanz, Gustavo Cerati, Ricky Martin, Calle 13, Fito Páez and Jorge Drexler.
Quebrado, a double album featuring new songs written by Aznar, came out in 2008 with pieces by Pedro and versions of songs by some of his favorite songwriters.
Aznar composed music for the film No mires para abajo (Don’t Look Down), by Eliseo Subiela.
He presented his book Pruebas de Fuego at the 2008 Santiago de Chile Book Fair, mixing poetry reading with songs.
In 2009 he records with Mercedes Sosa (who died later that year), Suna Rocha, Aca Seca, Power 3, Gabo Ferro, Cuban singer Haydée Milanés, Spanish Basque musician Kepa Junkera and Brazilian singer-songwriter Paulinho Moska.
Aznar won three Gardel Awards for his album Quebrado, in the categories Best Male Pop Singer, Production of the Year and Sound Engineering (the latter, with Ariel Lavigna and Andrés Mayo). The album also reached Gold Record status.
Quebrado Vivo, a live double album recorded at Teatro Coliseo, Buenos Aires, was released on CD and DVD.
Aznar published in 2009 his second book of poetry, Dos pasajes a la noche, presenting it at the Buenos Aires International Book Fair and the Santiago de Chile International Book Fair, alternating poetry reading with songs.
The internationally acclaimed Argentine pianist and composer Pablo Ziegler has been hailed as one of the world’s leading proponent of the nuevo tango. A classically trained pianist and a veteran of the vibrant jazz scene in his native Buenos Aires, Ziegler is taking South America’s most sultry and passionate music into new territory. Ziegler joins a small group of contemporary artists that includes trumpeter Wynton Marsalis and pianist Marcus Roberts who are recording both classical and jazz projects today. Ziegler is the only artist currently involved with tango projects in both genres.
Ziegler and the other members of his Quintet for New Tango – Héctor Del Curto (bandoneón), Oscar Guinta (bass), Horacio López (drums) and Quiqui Sinesi (guitar) are as adept at traditional and contemporary tango forms as they are performing jazz and world music. By using percussion and improvisational elements Ziegler enriches the nuevo tango legacy and further explores the common ground between tango and jazz.
Born in Buenos Aires in September 2, 1944 Ziegler studied music from the age of 4 until 13 in a classical music conservatory. He learned tango from his father, a tango violinist. As a teenager Ziegler fell in love with jazz. Ziegler became a professional jazz musician and formed his own band. The popularity of his jazz trio Pablo Ziegler Terceto led to his being invited in 1978 to join Astor Piazzolla’s New Tango Quintet. Until he joined the Astor Piazzolla Quintet, Ziegler had never performed tango professionally, but his ability to improvise and his virtuosity were exactly what Piazzolla wanted.
Ziegler remained with the Astor Piazzolla Quintet for the next ten years, appearing at jazz festivals all over the world. For him it was like attending the New Tango University.
In 1992, Ziegler started his own quintet and changed the instrument mix, replacing the traditional violin with a drum to explore new rhythm structures. In addition to leading his own ensemble, Ziegler has also collaborated with jazz vibraphonist Gary Burton, the Italian singer Milva and other internationally renowned artists.
A chance encounter during the summer of 1997 in Buenos Aires sparked the idea of a musical collaboration between Ziegler and Orpheus, the celebrated, New York-based chamber orchestra that performs without a conductor. The result was Tango Romance, a recording with new arrangements or adaptations written especially for the recording by Ziegler of his own music, works by Piazzolla and two classics from the late 1930s by Juan Carlos Cobián.
In 2018, Ziegler released Solo, an album of brand new arrangements of his nuevo tango pieces, as well as some new compositions and works by Astor Piazzolla, Alejandro Dolina, and Juan Carlos Cobián. Although Ziegler is used to playing his music with orchestra or small ensemble, this new solo set is a natural extension of his love and affinity for his instrument. He said, “The piano is a way to have a conversation for me; I express my feelings through piano rather than words. I always hear music in my mind, and the piano has been always accompanied my journey.”
“Releasing this solo piano album is a new chapter of my life as a musician,” says Ziegler. “There is always a first time for everything. This album happened to be one of them.”
Pablo Ziegler is also active composing music for film, theater and television.
* La Conexión Porteña, cassette (Sony Music 4-461745, 1991)
* Los Tangueros, Emanuel Ax and Pablo Ziegler (Sony Music SK 62728, 1996)
* Asfalto: Street Tango (BMG/RCA Victor 09026-93266-2, 1998)
* Tango Romance – Music of Buenos Aires with the Orpheus Chamber Orchestra (BMG/RCA Seal 09026-63233-2, 1998)
* Pablo Ziegler &Quinteto (BMG 0902663500-2, 1999)
* Bajo Cero (Enja ENJA 9145-2/US: Khaeon, 2003)
* Tango and all that Jazz, with Stefon Harris (Zoho, 2007)
* Buenos Aires Report, with Walter Castro and Quique Sinesi (Zoho, 2007)
* Amsterdam Meets New Tango, with the Metropole Orkest (Zoho, 2013)
* Desperate Dance (1201 Music, 2015)
* Tango Nuevo (Steinway & Sons, 2016)
* Jazz Tango (Zoho, 2017)
* Solo (Steinway & Sons, 2018)
Born in Buenos Aires (Argentina), Pablo Mainetti is one of the best-known and most respected bandoneon players in the world. He completed his studies of bandoneon, harmony and composition before specializing in chamber and contemporary music.
Throughout the course of his career he has recorded and played with all of the top tango artists in the Rio De La Plata area and has worked under the direction of masters Beba Pugliese, Nestor Marconi, Daniel Binelli, Rodolfo Mederos and Rodolfo Alchurrin.
He has performed in festivals such as the Spanish-American Encounters of Bogota, the Cervantino and Tango festivals of Granada, as well as the Argentina Week and the Universal Exhibition in Lisbon, Portugal. In 1996, Harmonia Mundi released Concerto for Bandoneon, his tribute to Astor Piazzolla.
* Astor Piazzolla Tango – Concerto for Bandoneon, with Orquesta de Cambra (Harmonia Mundi, 1996)
* Gran Hotel Victoria (Epsa Music, 2000)
Compartiendo Tangos, with Orquesta Sinfónica Provincial de Bahía Blanca (1999)
* Tres Rincones (2004)
* Tango Reflections Trío, with Adrián Iaies and Horacio Fumero (2005)
* Complicidad, with César Angeleri (Acqua Records, 2006)
* Borges poeta –Voces–, with Inda Ledesma – Oscar Martínez (2009)
* Partes de la suma (2011)
* Un Puñado De Buenos Tangos, with César Angeleri
* Amaramara, with Cristina Banegas (2016)
Otros Aires is a Tango Nuevo group founded originally in Barcelona (Spain) in 2003 but now based in their native Argentina. The band mixes tango and milongas songs from the early 20th Century with electronic melodies, sequences and lyrics from the 21st Century.
Thr 2017 lineup includes Miguel Di Genova on vocals, guitar electronic sequences; Martin Paladino on drums and percussion; Emmanuel Trifillo on bandoneon; and Diego Ramos on piano.