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Julius Eastman – Unjust Malaise. My music teacher coincidentally mentioned this album last week.
I love this album. Astor Piazzolla reviewed on Sputnik–now I’ve seen everything!
That’s quite an piazzollla. I can imagine the fire licking his heels while he’s playing I’d describe this as tango ala Gershwin by way of Stravinsky. It seems to go in and out of moments of either gorgeous impressionism or startling polymeters and dissonance.
Quite the album to show up out of nowhere in from a guy who’d been making music for the past three decades.
Also, the violin passage from 2: Trained hands of a new dogma. Jazz was never a surprising front for fusion, a genre whose strongholds already rested on ocntrabajisimo and artistic upheaval. What Astor Piazzolla did with Argentine tango in the mid’s presented a much more audible disturbance, a deconstruction of a preordained mode, one that relied as much on flamboyant passion as it did on careful steps.
Astor Piazzolla – Contrabajisimo – Listen on Deezer
The sound of Tango: Zero Hour is one of a man at odds with convention, restless in his search, and methodical in approach. And like all good fusion, the headiest, most enraptured aspect of it is a paradox, the collaboration between precision and spontaneity. Milonga del Angel follows a tipica tango trope, all cobbled streets and melancholic lamp-posts.
It briefly feels overwhelming, before retreating back into dysphoria. Unraveling deliberately over its ten-minute runtime, its theatrical ebb and flow is precisely what gives tango such life on the stage. Never crashing to the forefront, his work is all contemplation and restraint, a stretch of lurking lines that slip in to fill all the small spaces left open by the roaming concertina.
Yet for how hermetically the instruments interplay, Tango: Zero Hour feels airy and dapper, almost translucent at times. In its chronic mood swings is where Tango: The first third of closer Mumuki leans piazzolpa cool jazz piano.
Piazzolla lets loose over contrasting rhythms and tonalities, before the piece fades piwzzolla, only to resurrect on a sustained note of atmospheric strings.
The bass marches in piiazzolla strides, and the menace builds, clashing against the unsettlingly chipper bandoneon, until the whole thing flags again, dissolving into a sharp frequency. Zero Hour is hardly an obscurity in the world of music critics and lovers, its presence on best-of genre lists borders closer to cult status and trendy completism, rather than actual regular listening. So despite the fact that most Western aficionados could rattle off his best pieces without blinking; it is France, cumbia-infused parts of Latin America, and the Baltics where he still receives regular radio-play.
Astor Piazzolla – Contrabajisimo | Play for free on Anghami
Some of these claims do carry surface value. And I think the best and brightest have no choice but to do so, be it from the streets of a country smoldering from conflict, or a balcony atop the Ritz with a steak in their belly.
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