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Sell on Amazon Start a Selling Account. Then it was forgotten. No one had time to learn the steps anymore and Elvis and the Beatles had changed music forever, anyway. Along the way, tango had turned sepia-colored and brittle and Piazzolla became a one-man avant garde.
He stretched old song-form conventions and eventually dismissed them entirely. He retained tango's romanticism while rejecting its tendencies to nostalgia and bouts of morbid self-pity.
He revised the harmonic language to include Ravel and Messiaen and Schoenberg and Bartok - and then he added a walking bass. He incorporated three-part fugues and jazz-style improvisation and powered it all with an improbable blend of traditional tango pulse and Stravinskian rhythms. An Argentine pianist recently told a story that illustrates the depth of the passions "new tango" aroused. This was unlike anything we'd heard before," he recalled. He listened, barely saying a word, then hung up and said: 'So-and-so a famous band leader at the time is going to the radio to wait for Piazzolla and beat him up.
Piazzolla might now be one of Argentina's cultural heroes, but there were many hard years. Tango was part music, part religion and there was no room for heretics.
Worst of all, from his detractors' point of view, Piazzolla had impeccable credentials as a tanguero. He settled in Buenos Aires in , played with some of the big names of the day and made a reputation for himself as a bandoneon player and arranger with Anibal Troilo's orquesta tipica.
Troilo, composer of some of the classics of the genre and a superb bandoneon player and arranger, is a key figure in the history of tango. His orchestra, arguably the most popular of the time, nurtured the talent of many singers and musicians who went on to become major figures in tango.
Piazzolla left Troilo in and soon after formed his own orchestra along traditional lines. Jazz Latin New Age. Aggressive Bittersweet Druggy. Energetic Happy Hypnotic.
Romantic Sad Sentimental. Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. As the listener finds out, the vibraphone is perfectly suited to the tango; or at the very least, that Gary Burton is fully capable of the job. As with all of Piazzolla's albums, the chances of disappointment are quite slim, with a special amount of attention given here to details by all musicians involved. Having toured and recorded with Piazzolla in the s, Burton clearly had a strong appreciation of his legacy, and that appreciation comes through in a major way on arrangements of "Tanguedia," "Romance Del Diablo," and other gems by Piazzolla whose risk-taking approach to tango generated as much controversy in tango circles as Charlie Parker , Ornette Coleman , and John Coltrane did in jazz.
But as passionately as Burton expresses his love of Piazzolla's distinctive music, the vibist's own identity doesn't become buried or obscured. The CD's only major flaw is "Mi Refugio"; Burton has taken Piazzolla's solo performance of that Juan Carlos Cobian classic and overdubbed his vibes to make it sound like they're performing a duet. Even if Burton had the best of intentions, the end result is deception and cheap, crude exploitation. But otherwise, this album is outstanding.
He decided to drop the bandoneon and to dedicate himself to writing and to studying music. The performance took place at the law school in Buenos Aires with the symphony orchestra of Radio del Estado under the direction of Sevitzky himself. At the end of the concert, a fight broke out among members of the audience who were offended by the inclusion of two bandoneons in a traditional symphony orchestra.
In spite of this Piazzolla's composition won a grant from the French government to study in Paris with the legendary French composition teacher Nadia Boulanger at the Fontainebleau conservatory. In he and his wife left their two children Diana aged 11 and Daniel aged 10 with Piazzolla's parents and travelled to Paris.
Piazzolla was tired of tango and tried to hide his tanguero past and his bandoneon compositions from Boulanger, thinking that his destiny lay in classical music. Introducing his work, Piazzolla played her a number of his classically inspired compositions, but it was not until he played his tango Triunfal that she congratulated him and encouraged him to pursue his career in tango, recognising that this was where his talent lay.
This was to prove a historic encounter and a cross-road in Piazzolla's career. With Boulanger he studied classical composition, including counterpoint , which was to play an important role in his later tango compositions.
Before leaving Paris, he heard the octet of the American jazz saxophonist Gerry Mulligan , which was to give him the idea of forming his own octet on his return to Buenos Aires. He composed and recorded a series of tangos with the String Orchestra of the Paris Opera and began to play the bandoneon while standing up, putting his right foot on a chair and the bellows of the instrument across his right thigh. Until that time bandoneonists played sitting down. This was to be a turning point in his career and a watershed in the history of tango.
Piazzolla's new approach to the tango, nuevo tango , made him a controversial figure in his native land both musically and politically. However, his music gained acceptance in Europe and North America, and his reworking of the tango was embraced by some liberal segments of Argentine society, who were pushing for political changes in parallel to his musical revolution. In he disbanded both the Octeto and the String Orchestra and returned to New York City with his family where he struggled to make a living as a musician and arranger.
Briefly forming his own group, the Jazz Tango Quintet with whom he made just two recordings, his attempts to blend jazz and tango were not successful. Piazzolla was serving as the musical director. The tour continued in New York, Chicago and then Washington. Of the many ensembles that Piazzolla set up during his career it was the quintet formation which best expressed his approach to tango.
The recording featured his Quinteto together with an orchestra, the singer Edmundo Rivero and Luis Medina Castro reciting texts. Soon after this he began a relationship with Amelita Baltar.Oct 02, · Astor Piazzola & Gary Burton - The New Tango Bandoneón -- Astor Piazzolla Bass -- Hector Console Guitar -- Horacio Malvicino Piano -- Pablo Ziegler Vibraphone -- Gary Burton Violin -- .