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Solo Tango Orquesta - Historias De Tango 2 Full Album


Solo Tango Orquesta - Historias De Tango 2 Full Album

Well, that didn't take long! Last time I day-dreamed that Solo Tango would release their earlier albums, Historias de tango 1-3, on Bandcamp, and here they come! According to the band, it's a selection of the most danceable tracks from these albums, and danceable they are!

Los mareados is the least danceable, perhaps the only song for which I would have the most trouble finding a spot in my sets. It's full of modulations, starting in F minor and going through several key changes until it finds a resting point in B minor. Some of these felt a little forced. More importantly to the dancer, there are omnipresent rubatos and the flow is anything but regular. I would say it's a beautiful concert tango, and move on.

I usually listen to tango musics in Youtube Music, and suddenly realize that I couldn't find their first album Historias de Tango whether on Youtube Music nor Spotify today. Also, I couldn't find their Juntos on Spotify nor Youtube Music, neither.

Back in Argentina, Piazzolla formed his Orquesta de Cuerdas (String Orchestra), which performed with the singer Jorge Sobral [es], and his Octeto Buenos Aires in 1955. With two bandoneons (Piazzolla and Leopoldo Federico), two violins (Enrique Mario Francini and Hugo Baralis [es]), double bass (Juan Vasallo), cello (José Bragato), piano (Atilio Stampone), and an electric guitar (Horacio Malvicino), his Octeto effectively broke the mould of the traditional orquesta típica and created a new sound akin to chamber music, without a singer and with jazz-like improvisations. 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.

After a period of great productivity as a composer, he suffered a heart attack in 1973. That same year he moved to Italy where he began a series of recordings which would span a period of five years. The music publisher Aldo Pagani [it], a partner in Curci-Pagani Music, had offered Piazzolla a 15-year contract in Rome to record anything he could write. His famous album Libertango was recorded in Milan[11] in May 1974. Later that year he separated from Amelita Baltar and in September recorded the album Summit (Reunión Cumbre) with the saxophonist Gerry Mulligan and an Italian orchestra, including jazz musicians such as bassist /arranger Pino Presti and drummer Tullio De Piscopo,[12] in Milan. The album includes the composition Aire de Buenos Aires by Mulligan.

In September 1987 he recorded his Concierto para bandoneón y orquesta and Tres tangos para bandoneón y orquesta with Lalo Schifrin conducting the St. Luke's Orchestra, in the Richardson Auditorium at Princeton University.

By the 1970s Piazzolla was living in Rome, managed by the Italian agent Aldo Pagani [it], and exploring a leaner, more fluid musical style drawing on more jazz influence, and with simpler, more continuous forms. Pieces that exemplify this new direction include Libertango and most of the Suite Troileana [es], written in memory of Aníbal Troilo. In the 1980s Piazzolla was wealthy enough, for the first time, to become relatively autonomous artistically, and wrote some of his most ambitious multi-movement works. These included Tango Suite for the virtuoso guitar duo Sergio and Odair Assad; Histoire du Tango, where a flutist and guitarist tell the history of tango in four chunks of music styled at thirty-year intervals; and La Camorra, a suite in three ten-minute movements, inspired by the Neapolitan crime family and exploring symphonic concepts of large-scale form, thematic development, contrasts of texture and massive accumulations of e


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