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Review by James P.O'Brien:
- Invierno Porteno(6:38) The opening cut commenceswith a lilting melody accompanied by
a subtle tango rhythm thatquickly accelerates into a cadenza-like passage
on piano, settingthe format for most of the variations that occur on this
tune byAstor Piazzolla. Although the entire ensemble is involved, the
melody is generally carried by the piano with violin obbligato, orby the
violin itself. Only near the end is the accordion featuredon the melody
with some harsh, sul ponticello tones by the fiddle.The gentleness of the
theme is contrasted with harsher, evensomewhat brutal, sections.
Nonetheless, this is a thoughtful andsensitive styling which is
reminiscent of the Paul Winter consortin its tight ensemble. I found this
selection haunting and it cameinto my consciousness several times during
my day without anyreason, a nice intuitive recall of its
memorability.
- Verano Porteno
(5:50) Terraced dynamics open thiscut with
thick and dissonant chords on accordion. A nice interplayof all
instruments follows, led by the accordion. Harmony is richand dense
throughout. In the slower section, the accordion carriesa languid melody,
followed by the violin while first the accordionthen the piano provides
counterpoint. Percussive effects areproduced midway while the melody
becomes ever more intricatethrough Latin syncopations. There is a nice
interchange amongviolin, piano and accordion, but the vibes seems
somewhat anintrusion, an effect for effect's sake rather than enhancing
themusical value.
- I Love You
Samantha
(4:41) This Cole Porter melody is
initially presented by piano and accordion, passing withoutfumbling to
the violin and providing a tasteful third-stream jazzeffect with the
underlying accompaniment. This was a favorite cutfor me, subtle and
classy with some sensitive musicalstyling.
- La Muerte del Angel(2:54)
Four-part invention?Four-part contention? Whatever, very nice
contrapuntal writing inthe opening with some brilliant accordion playing
thatdemonstrates Bobenrieth's solid technique and subtle shadings of
dynamics. Ensemble between piano and accordion is particularly
noteworthy. This is a spirited and daring cut and is very excitingto
hear.
- Contrabajissimo
(12:35) A slow introduction onbass,
interspersed with chords on the accordion opens thisselection. Plaintive
and melancholic, using some pizzicato, it isdirge-like, leaving lots of
musical space, like huge windows. Abrief call-response section with the
accordion follows whichsuggests this is not all that serious, but that
this is definitelythe bassist's cut. An ensuing march-like section seems
more jovialif somewhat ominous. Musical activity picks up, but the
accordiontakes back the tempo midway, evolving into a simple and tender
tune, which seems somewhat incongruous with the opening, eventhough the
section with harmony traversing the circle of fifths isnice (but not
particularly relevant). Near the end, there is areturn to the more
vigorous march-like setting, militant andinsistent. Piano technique is
particularly noteworthy here. Thenthe simple melody returns, this time on
the fiddle, then the bass.A spirited section follows, quite march-like
once again. This wasnot a favorite cut for me. It does lots of things,
many of whichare nice and quite musical, but there is too much variety
withoutany central unifying feature. (Program? None provided to indicate
this is telling a story.) So it is a musical quilt, interesting
sonically, but perhaps not aesthetically.
- Milonga del Angel(5:57) The
accordion generallycarries the lead while violin provides obbligato. This
was anotherfavorite because it is so laid-back and subtle, with
marveloussimplicity between the gentle melody, rhythmic accompaniment
andcountermelody. No change in tempo, no shock in dynamics, choice
extended chords of sophistication, an invitation to just mellowout as you
listen. This type of unity is very nice, providingprolonged interest.
Even the vibes seemed appropriate andintegrated to this musical treat. I
was reminded of a small mobilehanging in a gentle breeze, slightly
altered each time I lookedbut unified nonetheless. No cafeteria
here.
- Fugata
(2:37) This little fugue begins with accordion, then violin,guitar on
the subject, and finally piano. Everyone gets his or herturn in the
contrapuntal interplay, which is somewhat reminiscentof Claude Bolling's
fusion jazz. Tempo is brisk and executioncrisp throughout, making this a
spirited and excitinginterpretation.
- Zingaro (3:31) Noble and pompous
in introduction, the vibes and pianoaccompaniment provide sensual styling
in this laid-back cut whichinterweaves an accordion melody as well. This
is sophisticated andtasteful playing. I particularly enjoyed the
understatement here.
- Chovendo Na
Roseira(3:49) Shades of Errol Garner! The
ensemble between piano and accordion is particularly pronouncedhere, but
the interplay of all instruments is tight with everyonein the ensemble
getting a turn. This is not a solo accordion CD,but integrates everyone
in chamber style. There are wonderfulriffs from the piano and vibes in
this selection, but the gentlepassing of the theme among instruments is
like a well-orchestratedgame of volleyball (sans spikes!).
- Soledad (7:30)
This is another tango, introduced by bass and pianowith chords lush and
provocative, soon taken over by accordion. Tasteful and sensitive, this
selection offers nothing new to thealbum but reinforces the style, which
is quite universalthroughout the recording. The vibraphone offers a misty
renditionof the melody after the accordion, followed by a guitar section
senza battuta, and then violin a battuta. A majestic climax occurswhen
all instruments join in a crescendo, which is concluded by anaccordion
section and a pseudo-cadenza alla the vibes. This cut iscontrolled and
mellow, with everyone contributing to the productdemocratically.
- Michelangelo 70(2:39) Syncopation is rampant here,creating great energy and
excitement, particularly withlightning-like jabs from the violin. I liked
the Bartok-likepercussive nature, rhythmically intricate but musically
exciting(daring?) and precise.
- Tangata
(10:14) The accordion opens this minor
selection with bassaccompaniment, creating a neo-baroque effect,
particularly withthe tasteful accordion ornamentation on the melodic
line. When thestrings join, it is much like a trio sonata but the guitar
bringsus back to contemporary times, with a recitative-like section, and
the assertion of the piano leaves us no doubt of the times inwhich we're
living and listening. The tempo suddenly shifts inmiddle with percussive
unison lines. There is another shift to aslow, senza battuta section,
perhaps creating too much variety formy taste, which is confirmed, by the
vibes' section. This seems tobe a tendency in all the longer cuts: a real
panorama of tempi andmusical effects. I much prefer the shorter cuts
where a solidfocus, be it clear theme or mood prevails. This is a
reviewerpreference since I like my art to be focused and significance.
Summary
This is a compelling CD and it breathes ofquality. The artists
have worked diligently to assemble their musicaloffering and faithfully
rehearsed and recorded them. As a result, thealbum displays fine
musicianship and excellent technique. As I havealready stated, I prefer
the shorter selections where there is lessreliance on additive form, but
rather, precise and consistentpresentation of a musical idea, generally a
melody. In the longercuts, I felt there was more variety of tone color,
tempi and dynamics(how many crescendi throughout this album) than was
really necessary.This is an expression of preference, not of value,
however. Allselections were composed by Astor Piazzolla, with the
exception ofI Love you
Samantha (Cole Porter) as well as
Zingaro and
Chovendo Na Roseira
(AntonioCarlos Jobim). The cover design is exquisite and the inner
materialis interesting, relevant yet brief. I liked the three pictures
ofManny Bobenrieth, the accordionist, each in a different costume: nowin
all black, now in jeans, and now in T-shirt with shades (thebest).
Co-ool! However, given the chamber nature of all selections, agroup
picture on the cover would have been highly appropriate. Thesolo pictures
suggest this is a solo accordion gig, but it reallyisn't. But anyway,
nicely done and significant.
