Astor Piazzolla – Tres Minutos Con La Realidad (1997)

FrontCover1Astor Pantaleón Piazzolla (Spanish pronunciation: [pjaˈsola], Italian pronunciation: [pjatˈtsɔlla]; March 11, 1921 – July 4, 1992) was an Argentine tango composer, bandoneon player, and arranger. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz and classical music. A virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles.

In 1992, American music critic Stephen Holden described Piazzolla as “the world’s foremost composer of tango music”  …

… Early in 1989 he formed his Sexteto Nuevo Tango, his last ensemble, with two bandoneons, piano, electric guitar, bass and cello. Together they gave a concert at the Club Italiano in Buenos Aires in April, a recording of which was issued under the title of Tres minutos con la realidad. Later he appeared with them at the Teatro Opera in Buenos Aires in the presence of the newly elected Argentine President Carlos Menem on Friday, June 9. This would be Piazzolla’s last concert in Argentina.

He suffered a cerebral hemorrhage in Paris on August 4, 1990, which left him in a coma, and died in Buenos Aires, just under two years later on July 4, 1992, without regaining consciousness. (by wikipedia)

And here´s one of his last concerts in Argentina … live at the Club Italiano in Buenos Aires.

AstorPiazzolla2009_02This is one of the few recorded documents of the Sextet that represents the last (tragically short) phase of Piazzolla’s career. The music is extremely dark, passionate and intense.

These are, I believe, the only live versions of the La Camorra pieces and of the Tango Ballet

There are other live recordings of this group: The Lausanne Concert,Luna,Astor Piazzolla & The New Tango Sextet: Live at the BBC 1989. There’s a video of the BBC Concert included in Astor Piazzolla in Portrait

The sextet also produced some studio work (including new pieces not found elsewhere) that is available on the various versions of 57 Minutos con la Realidad – highly recommended, (by Thelonious)


José Bragato (cello)
Hector Console (bass)
Gerardo Gandini (piano)
Horacio Malvicino (guitar)
Tullio Pane (bandoneon)
Astor Piazzolla (accordion, bandoneon)

01. Luna (Levinson/Piazzolla) 10.08
02. Sexteto (Piazzolla) 10.18
03. Tres minutos con la realidad (Piazzolla) 3.06
04. Camorra II (Piazzolla) 6.40
05. Camorra III (Piazzolla) 10.13
06. Tango Ballet (Piazzolla) 11.49



Astor Piazzolla01

Al Di Meola – Al Di Meola Plays Piazzolla (1996)

FrontCover1.jpgDi Meola Plays Piazzolla is an album by Al Di Meola which is a tribute to Argentinian composer Ástor Piazzolla. Eight of the ten songs were written by Piazzolla. Di Meola is accompanied by percussionist Arto Tuncboyacian and Dino Saluzzi, who plays bandoneon. Vince Mendoza provided some of the string arrangements. (by wikipedia)

Latin music has been a strong influence on Al Di Meola since his early years, and in the ’90s, he paid especially close attention to the music of Argentina. A welcome addition to his already impressive catalog, Di Meola Plays Piazzolla pays homage to the late Argentine tango master Astor Piazzolla (whose distinctive and very poetic brand of romanticism was considered quite daring and radical in Argentina). It would have been easy for an artist to allow his own personality to become obscured when saluting Piazzolla’s legacy, but the charismatic Di Meola is too great an improviser to let that happen. Though his reverence for Piazzolla comes through loud and clear on these haunting classics, there’s no mistaking the fact that this is very much an Al Di Meola project. (by Alex Henderson)


Allthough this is Al Di Meola playing Piazzolla´s compositions in his style, and not Al Di Meola´s own compositions, don´t be afraid to try out this album as it is close to his work on the World Sinfonia albums, especially Heart of the Immigrants where four of the songs from Al Di Meola plays Piazzolla are also featured: Night Club 1960, Tango II, Bordel 1900 and the beautiful Milonga del Angel.

Piazolla is most known for playing complicated tango compositions on his bandoneón which included jazz and classical influences. He is widely considered as the creator of the music genre Nuevo Tango. This means that it is not your traditional tango on display here. The music on this album is very complicated but at the same time mellow and almost easy listening ( Not in a bad way though).

The production is worth mentioning too, as it is flawless and a real pleasure to listen to. (by Umur)


Chris Carrington (guitar)
Al Di Meola (guitar, pandean pipe, vocals, percussion)
Gumbi Ortiz (percussion)
Hernan Romero (keyboards, charango, vocals)
Dino Saluzzi (bandoneon)
Arto Tunçboyacıyan (percussion, vocals)

01. Oblivión (Piazzolla) 6.04
02. Café 1930 (Piazzolla) 6.16
03. Tango Suite, Pt. I (Piazzolla) 8.49
04. Tango Suite, Pt. III (Piazzolla) 8.51
05. Verano Reflections (Piazzolla/Di Meola) 4.13
06. Night Club 1960 (Piazzolla) 5.50
07. Tango II (Piazzolla) 5.36
08. Bordel 1900 (Piazzolla) 4.33
09. Milonga del Angel (Piazzolla) 3.48
10. Last Tango For Astor (Di Meola) 6.18




Carlos Gardel – The Passion Of Tango (1996)

FrontCover1Carlos Gardel (born Charles Romuald Gardès; 11 December 1890 – 24 June 1935) was a French Argentine singer, songwriter, composer and actor, and the most prominent figure in the history of tango. Gardel’s baritone voice and the dramatic phrasing of his lyrics made miniature masterpieces of his hundreds of three-minute tango recordings. Together with lyricist and long-time collaborator Alfredo Le Pera, Gardel wrote several classic tangos.

Gardel died in an airplane crash at the height of his career, becoming an archetypal tragic hero mourned throughout Latin America. For many, Gardel embodies the soul of the tango style. He is commonly referred to as “Carlitos”, “El Zorzal” (The [Song] Thrush), “The King of Tango”, “El Mago” (The Wizard), “El Morocho del Abasto” (The Brunette boy from Abasto), and ironically “El Mudo” (The Mute). (by wikipedia)

Gardel rivals Astor Piazzolla as the most important single figure in tango history; if Piazzolla was roughly tango’s equivalent of Duke Ellington, then Gardel was certainly its Frank Sinatra — a towering giant of a vocalist, macho yet sensitive, with an unequaled affinity for the popular song of his homeland.

Carlos Gardel01

Carlos Gardel (11 December 1887/18901 – 24 June 1935) was an enormously popular Argentina-raised tango singer during the inter-war years, whose birth-place has been largely disputed. His death in an airplane crash at the height of his career created an image of a tragic hero on both shores of the Río de la Plata. For many music fans, Gardel embodies the soul of the tango, a musical form and dance which evolved in the barrios of Buenos Aires and Montevideo at the end of the 19th century.

Gardel possessed a baritone voice deployed with unerring musicality and dramatic phrasing, creating miniature masterpieces among the hundreds of three-minute tangos which he recorded during his lifetime. Together with his long-term collaborator, lyricist Alfredo Le Pera, Gardel also wrote several classic tangos, notably Mi Buenos Aires querido, Amores de Estudiante, Soledad, Volver, Por una cabeza and El día que me quieras.

Carlos Gardel02

Gardel began his career singing in bars and at private parties and in 1911 formed a duet with Francisco Martino, and after with Josà Razzano (which would last until 1925), singing a wide repertory. Gardel made the music his own by inventing the tango-canción in 1917 with Mi Noche Triste, a Pascual Contursi and Samuel Castriota’s theme, which sold 100,000 copies and was a hit throughout Latin America. Gardel went on to tour Argentina, Uruguay, Chile, Brazil, Puerto Rico, Venezuela, Colombia and made appearances in Barcelona, Madrid, Paris and New York. He sold 70,000 records in the first three months of a 1928 visit to Paris. As his popularity grew, he made a number of films for Paramount in France and the U.S., which were essentially vehicles for his singing and matinée-idol looks.

When Gardel and his collaborator Le Pera were killed in an airplane crash in Medellín, Colombia in 1935, millions of his fans throughout Latin America went into mourning. Hordes of people thronged to pay their respects as the singer’s body travelled via Colombia, New York and Rio de Janeiro to Montevideo, Uruguay where his mother lived. There he was put on lit de parade while thousands of Uruguayans rendered homage to their beloved singer. After two days the singer’s body travelled to its final resting place in La Chacarita Cemetery in Buenos Aires.

Gardel is still revered from Buenos Aires to Tokyo, where people like to say that “he sings better every day.” His fans still like to place a lit cigarette in the fingers of the life-sized statue which adorns his tomb. One of Gardel’s favorite phrases, Veinte años no es nada (Twenty years is nothing) became a famous saying across Latin America. (by

And this is a more or less rare Italian sampler with his music …. many decades ago … Music from a long forgotten period … Music from Argentinia … Tango … you know … many fantastic colors …

Carlos Gardel03

Carlos Gardel (guitar, piano, vocals)
a bunch of unknown studio musicians


01. Volver (Gardel/Pera) 2.55
02. El Dia Que Me Quieras (Gardel/Pera) 3.23
03. La Cumparsita (Rodríguez) 2.15
04. Silencio (Pettorossi/Gardel/Pera) 2.42
05. Adios Muchachos (Sanders/Vedani) 2.23
06. Mi Buenos Aires querido (Gardel/Pera) 2.39
07. Milonga sentimenta (Piana/Manzi) 3.00
08. Tomo y obligo (Gardel/ Romero) 2.08
09. Melodía de Arrabal (Gardel/Pera/Battistella) 2.36
10. Lejana Tierra Mia (Gardel/Pera) 2.43
11. Madreselva (Gardel) 3.08
12. Cuesta abajo (Gardel/Pera) 3.30
13. Mano a mano (Gardel/Flores/Razzano) 3.10
14. La canción de Buenos Aires (Cúfaro/Maizani/Romero) 2.15
15. Caminito ( Filiberto/Peñaloza) 2.35
16. Guitarra Mia (Gardel/Pera) 3.26
17. Tango Argentino (Maglio/Bigheschi) 2.25




Milva – Tango (1968)

FrontCover1Maria Ilva Biolcati (born 17 July 1939), known as Milva [ˈmilva], is an Italian singer, stage and film actress, and television personality. She is also known as La Rossa (Italian for “The Redhead”), due to the characteristic colour of her hair, and additionally as La Pantera di Goro (“The Panther of Goro”), which stems from the Italian press having nicknamed the three most popular Italian female singers of the 1960s, combining the names of animals and the singers’ birth places. Popular in Italy and abroad, she has performed on musical and theatrical stages the world over, and has received popular acclaim in her native Italy, and particularly in Germany where she has often participated in musical events and televised musical programmes. She has also released numerous albums in France, Japan, Korea, Greece, Spain and South America.

She has collaborated with European composers and musicians such as Ennio Morricone in 1965, Francis Lai in 1973, Mikis Theodorakis in 1978 (Was ich denke became a best selling album in Germany), Enzo Jannacci in 1980, Vangelis in 1981 and 1986, Franco Battiato in 1982 and 1986.

Her stage productions of Bertolt Brecht’s recitals and Luciano Berio’s operas have toured the world’s theatres. She has performed at La Scala in Milan, at the Deutsche Oper in Berlin, at the Paris Opera, in the Royal Albert Hall in London, and at the Edinburgh Festival, amongst others.


Having received success both in Italy and internationally, she remains to this day one of the most popular Italian personalities in the fields of music and theatre. Her artistic stature has been officially recognised by the Italian, German and French republics, each of which have bestowed her with the highest honours. She is the only Italian artist in contemporary times, in fact, who is simultaneously: Chevalier of the National Order of the Legion of Honour of the French Republic (Paris, 11 September 2009), Commander of the Order of Merit of the Italian Republic (Rome, 2 June 2007), Officer of the Order of Merit of the Federal Republic of Germany (Berlin, 2006) and Officier of the Ordre des Arts et des Lettres (Paris, 1995).

In 1968, Milva released her fifth studio album, Tango, an album that consisted of tango standards sung in Italian. The album was released in Italy, Germany, Spain and Brazil and featured an orchestra conducted by Iller Pattacini. (by wikipedia)

And here´s this beautiful album … if you like Tango music combined with a real strong and erotic voice … than you should listen ….

Milva was one of the greatest singers from Italy ! Believe me !

Milva (vocals)
Iller Pattacini Orchestra


01. La Cumparsita (Questo Tango) (Rondinella/Rodriguez) 3.20
02. A Media Luz (Guardando Intorno A Te) (Lonzi/Donato) 2.36
03. Bandoneon Arrabalero (Il Cantastorie Col Bandoneon) (Bachica/Contursi/Bertini) 2.43
04. Inspiracion (La Mia Vita Cambiera) (Paulus/Rondinella) 3.30
05. Cielo Azzurro (Stanotte Sognero) (Rixner) 3.57
06 Adios Muchachos (Vodani/Sanders) 3.02
07. Duelo Criollo (La Donna Del Buono A Nulla) (Rezzano/Bayardo) 3.01
08. Rodriguez Pena (Rodriguez Morirai) (Rondinella/Juan/Vicente) 2.47
09. El Choclo (All’osteria) (Villoldo) 3.01
10. Blue Tango (Il Diario Sa) (Rondinella/Anderson/Parish) 2.50
11. Poema (So Cho Nol Cielo) (Bianco/Melfi) 3.16
12. Adios, Pampa Mia (Canaro/Pelay/Larici/Mores) 4.17


Aurelia Saxophone Quartet – Tango Nuevo (1994)

FrontCover1The hot Italian summer of 1982; four young Dutch saxophonists rehearsing in Via Aurelia in Rome; the beginning of a sensational, pioneering chamber-music ensemble: the Aurelia Saxophone Quartet.
Then came: Concerts throughout the world from Suntory Hall in Tokyo to the Gewandhaus in Leipzig – not to mention the little church in Marken-Binnen in the Dutch province of Noord-Holland and a municipal centre in Oristano, Sardinia which smelt of beer.

Radio and television performances from Washington, DC to Tirana, Albania. Broadcasts on the Emmeloord Patients’ Radio Network to TV Wolgograd.

Currently nine CDs to the group’s name, one of which won an Edison and international praise, setting a new standard for saxophone quartets the world over.

Collaboration with artists from all disciplines, including dance and theatre (Peter Drost, René Groothof), as well as a great many musicians: pianists Ivo Janssen and Juan Pablo Dobal, bandoneon players Gustavo Toker and Carel Kraaijenhof, the Netherlands Wind Ensemble, the Georgian women’s choir Mzetamze, the gamelan ensemble Multifoon, Slagwerkgroep Den Haag, the Japanese saxophone quartet Trouvère, the Hague Residentie Orchestra, the Limburg Symphony Orchestra and others.

Aurelia01Over seventy world premieres of works by ter Veldhuis, Goldstein, Keuris, Andriessen and many others. The group gives compositions the chance to grow and plays pieces frequently so that they are heard often.

Astounding and ambitious arrangements. String quartets by Ravel, Debussy and Shostakovich. The Art of Fugue, the sonatas of Domenico Scarlatti. Pushing boundaries for our one great love: the saxophone quartet. (Promotion text)

n 1994 the Aurelia Saxophone Quartet recorded the CD “Contrasaxeando / Tango Nuevo” with bandoneon player Gustavo Toker and pianist Juan Pablo Dobal. An extensive concert tour followed, with bandoneonist Carel Kraayenhof eventually replacing Toker. The tour and the CD were devoted to the music of Astor Piazzolla and both were extremely successful.

I live part time in Amsterdam where this quartet is based. Not only are they stunning musicians, but this CD is one of my all time favorite albums of ANY music and I’m a professional musician. If you are into tango and sax, you won’t be disappointed. Also notice this is a live album and that all the pieces are arranged by different members of the quartet themselves. (Shelley A Mesirow)

Recorded live at De Rode Hoed, Amsterdam, Netherlands on 26th June 1994

André Arends (alto saxophone)
Arno Bornkamp (tenor saxophone)
Johan van der Linden (soprano saxophone)
Willem van Merwijk (baritone saxophone)
J.P. Dobal (piano)
Gustavo Toker (bandoneon)

01. Escualo 5.01
02. Adios Nonino 8.24
03. Caliente 4.52
04. Astor Que Estas En Los Cielos (Toker) 11.29
05. Contrabajeando 2.39
06. Las Estaciones Portenias 10.37
07. Vayamos Al Diablo 1.59
08. Four For Tango 6.33
09. Milonga Del Angel 6.36
10. Contrabajissimo 11.24
11. Michelangelo 2.47
12. Fuga Y Misterio 3.41
13. Variaciones de la Fuga 1.11

all compisitions by Astor Piazolla except as indicated


Astor Piazzolla – Tango Zero Hour (1986)

FrontCover1Considered by Piazzolla to be his best work, 1986’s Tango Zero Hour was the culmination of a career that began in Argentina in the 1930s. Piazzolla started out auspiciously enough working with one of the brightest lights of the classic tango era, singer Carlos Gardél. After Gardél’s tragic death in 1935 (by turning down an offer to tour with the singer at the age of 13, Piazzolla amazingly avoided the plane crash that killed Gardél), Piazzolla went on to perfect his bandoneón playing in various tango bands during the ’40s and ’50s, eventually studying with Nadia Boulanger in Paris. Like she did with so many other great talents like Aaron Copeland and Quincy Jones, Boulanger encouraged Piazzolla to find a new way of playing his county’s music. Piazzolla began experimenting and soon enough perfected what is now known as “nuevo tango.” Moving tango music into the more serious area of high-art composition, Piazzolla added eccentric and, at times, avant-garde touches to the traditional format; he gained the appreciation of adventurous music lovers worldwide while alienating tango purists back home. Tango Zero Hour is the fruition of his groundbreaking work and one of the most amazing albums released during the latter years of the 20th century. Joined by his Quinteto Tango Nuevo featuring violin, piano, guitar, and bass, Piazzolla offers up seven original tango gems that take in the noirish, “Zero Hour” world found between midnight and dawn. Essential for all music lovers. ( by Stephen Cook)

Hector Console (bass)
Horacio Malvicino Sr. (guitar)
Fernando Suárez Paz (violin)
Astor Piazzolla (accordion, bandoneón)
Pablo Ziegler (piano)

01. Tanguedia III 4.39
02. Milonga Del Angel 6.30
03. Concierto Para Quinteto 9.00
04. Milonga Loca 3.05
05. Michelangelo ’70 2.50
06. Contrabajísimo 10.18
07. Mumuki 9.32

all songs composed by Astor Piazolla


Various Artists – 30 Grandes Tangos (1995)

FrontCover1The tango is a partner dance that originated in the 1890s along the Río de la Plata, the natural border between Argentina and Uruguay, and soon spread to the rest of the world.

Early tango was known as tango criollo (Creole tango). Today, there are many forms of tango extant. Popularly and among tango dancing circles, the authentic tango is considered to be the one closest to the form originally danced in Argentina and Uruguay.

In 2009, UNESCO approved a joint proposal by Argentina and Uruguay to include the tango in the UNESCO Intangible Cultural Heritage Lists.

Tango is a dance that has influences from European and African culture. Dances from the candombe ceremonies of former slave peoples helped shape the modern day Tango. The dance originated in lower-class districts of Buenos Aires and Montevideo. The music derived from the fusion of various forms of music from Europe. The word “tango” seems to have first been used in connection with the dance in the 1890s. Initially it was just one of the many dances, but it soon became popular throughout society, as theatres and street barrel organs spread it from the suburbs to the working-class slums, which were packed with hundreds of thousands of European immigrants, primarily Italians, Spanish and French.

In the early years of the 20th century, dancers and orchestras from Buenos Aires travelled to Europe, and the first European tango craze took place in Paris, soon followed by London, Berlin, and other capitals. Towards the end of 1913 it hit New York in the USA, and Finland. In the USA around 1911 the word “tango” was often applied to dances in a 2/4 or 4/4 rhythm such as the one-step. The term was fashionable and did not indicate that tango steps would be used in the dance, although they might be. Tango music was sometimes played, but at a rather fast tempo. Instructors of the period would sometimes refer to this as a “North American tango”, versus the so-called “Argentine Tango”. By 1914 more authentic tango stylings were soon developed[which?], along with some variations like Albert Newman’s “Minuet” tango.

Postcard1919Tango postcard from 1919

In Argentina, the onset in 1929 of the Great Depression, and restrictions introduced after the overthrow of the Hipólito Yrigoyen government in 1930 caused tango to decline. Its fortunes were reversed as tango became widely fashionable and a matter of national pride under the government of Juan Perón. Tango declined again in the 1950s as a result of economic depression and the banning of public gatherings by the military dictatorships; male-only Tango practice—the custom at the time—was considered “public gathering”. That, indirectly, boosted the popularity of rock and roll because, unlike Tango, it did not require such gatherings.

In 2009 the tango was declared part of the world’s “intangible cultural heritage” by UNESCO. (by wikipedia)

AlternateFrontCoverAlternate frontcover

And this is very interesting sampler of historic tango music … discover this exciting musical world !


CD 1:
01.  Julio Sosa: Cambalache (Disépolo)) 3.02
02. Astor Piazzolla: Buenos Aires Hora Cero (Piazolla) 3.53
03. Maria Grana & Jorge Falcon: El Dia Que Me Quieras (Gardel/La Pera) 3.49
04. Jose Colangelo: La Cumparsita (Rodriguez) 4.27
05. Ricardo “Chiqui” Pereyra: Destellos (Canaro/Caruso) 3.04
06. Leopoldo Federico: Adios Muchachos (Sanders/Vedani) 2.19
07. Luis Stazo & Monica Lander: Nostalgias (Cobian/Cadizamo) 3.37
08. Sexteto Tango: El Esquinazo (Villolod0/Pesce/Polito) 3.10
09. Osvaldo Fresedo: Bahia Blanca (Di Sarli) 2.55
10. Jorge Falcon: Pasional (Soto/Cardala) 2.47
11. Amelita Baltar: Balada Para Un Loco (Piazzolla/Ferrer) 4.36
12. Armando Pontier: Caminito (Filiberto/Penaloza) 2.15
13. Hector Espero: Fumando Espero (Masanas/Garzó) 3.16
14. Quinteto Real: Organito De La Tarde (Castillo) 2.40
15. Jorge Sobral: Sur (Sobral) 3.01

CD 2:
01. Osvaldo Fresedo: Milonguero Viejo (Di Sarli/Sotelo) 2.50
o2. Jorge Falcon: Ninguna (Manzi/Siro) 3.42
03. Maria Grana: La Cancion De Buenos Aires (Romero/Cufaro) 2.42
04. Leopoldo Frederico: A Media Luz (Donato/Lenzi) 2.39
05. Luis Stazo & Monica Lander: Vida Mia (O.Fresedo/E.Fresedo) 3.00
06. Ricardo “Chiqui” Pereyra: Uno (Mores/Discépolo) 3.29
07. Armando Pontier: El Choclo (Villoldo/Discépolo/Catán) 2.10
08. Amelita Baltar: Chiquilin De Bachin (Piazzolla/Ferrer) 4.30
09. Astor Piazzolla: Los Mareados (Cobian/Cadizamo) 4.20
10. Jorge Sobral: Ronando Tu Esquina (Charlo/Cadizamo) 2.36
11. Quinteto Real: La Punalada (Castellanos/Flores) 3.25
12. Sexteto Tango: Remembranza (Melfi/Bastistella) 3.36
13. Hector Varela: Silueta Portena (Cuccaro/Aniello/Noli) 3.04
14. Julio Sosa: Mano A Mano (Razzano/Gardel/Flores) 3.15
15. Jose Colangelo: Todos Los Suenos (Colangelo) 4.10


CD 2:

Giora Feidman – Clarinetango (1990)

FrontCover1Giora Feidman (born March 26, 1936) is an Argentine-born Israeli clarinetist who specializes in klezmer music.

Giora Feidman was born in Buenos Aires, Argentina, where his Bessarabian Jewish parents immigrated to escape persecution. Feidman comes from a family of klezmer musicians. His father, grandfather and great-grandfather made music for weddings, bar mitzvahs, and holiday celebrations in the shtetls of Eastern Europe. Feidman married Ora Bat-Chaim, his personal manager, in 1975.

Feidman began his career in Buenos Aires as a member of the Teatro Colón Symphony Orchestra. Two years later he immigrated to Israel to become the youngest clarinetist ever to play with the Israel Philharmonic Orchestra. He was a member of the orchestra for over 20 years. In the early 1970s he began his solo career. He has performed with the Berliner Symphoniker, the Kronos Quartet, the Polish Chamber Philarmonic, the Munich Chamber Philarmonic Orchestra, and the Munich Radio Orchestra. In 1974 the Israeli Philharmonic Orchestra commissioned composer Misha Segal to write a concerto for clarinet and orchestra for Giora Feidman. The one movement piece, which was based on an original Nigun, premiered that same year.

Movie director Steven Spielberg invited him to play the clarinet solos for the soundtrack of Schindler’s List, which won seven Academy Awards.

Feidman founded the “Clarinet and Klezmer in the Galilee” seminar and master class program, which takes place every year in Safed, Israel. (by wikipedia)

This is very special album by Giora Feidman. It was recorded with only 2 microphones to get a very realistic sound in the Rutgers Presbyterian Church, New York (1989)

And on this album you can hear more or less tango music only … a real highlight in the career of Gioa Feidman !

Giora Feidman (clarinet)
Jerr Israel (guitar)
Manny Katz (guitar)
Mark Minkler (bass)
Roberto Pansera (bandoneon)

01. La Cumparsita (Rodriguez) 2.43
02. Gracias a la Vida (Parra) 4.07
03. Lluvia de Estrellas (Maderna) 3.09
04. Mi Buenos Aires Querido (Gardel) 3.04
05. Don Ludwig (Pansera) 2.49
06. El Choclo (Villoldo) 2.51
07. Palomita Blanca (Aieta) 2.29
08. Fuga e Misterio (Piazzolla) 2.10
09. Uno (Mores) 3.09
10. Guitarra Romana ( 2:18 )
11. Clarinetango (Pansera) 3.37
12. Alfonsina y el Mar (Ramirez ) 4.17
13. Hernando´s Hideaway (Adler) 2.24
14. Es Dia que me Quieras (Gardel) 3.15
15. Adios Nonino (Piazzolla) 3.29
16. Hamabe-no Uta (Narita) 3.08
17. A Media Luz (Donato) 3.24
18. Chiquilin de Bach´in (Piazzolla) 4.34
19. Taquito Militar (Mores) 2.39


Sexteto Mayor – Vida, Pasion Y Tango (2011)

FrontCover1This ensemble is not only Sexteto Mayor by name (…), it achieves its greatness, class and outstanding musical identity by exploiting to the full all the possibilities its six instruments with their different characters have to offer – rhythm, vitality and melody spun delicately together. In this way, the inimitable impression of many sounds and tones blending together is created, as if six instruments were singing as one large choir – clear and pure.” (Jazzthetik 01/02/11)

“The Sexteto Mayor from Buenos Aires has never settled for the type of easily digestible tango that keeps the tourists happy. Even in difficult times, the sextet’s musicians have persisted in fathoming the depths of the musical soul of Argentinean Tango. And this ethos has brought them decades of international success and fame, in more recent years in their home country of Argentinia, too, where their album Vida, Pasión y Tango has been awarded the Gardel de Oro for Tango (…)” (JAZZthing Nov.2010 – Jan. 2011)

Listen ! Enjoy !

Mario Abramovich (violin)
Enrique Guerra (bass)
Fulvio Giraudo (piano)
Pablo Mainetti (bandonéon)
Horacio Romo (bandonéon)
Eduardo Walczak (violin)

01. Universo (Libertella) 3.35
02. Desde el Alma (Melo) 3.37
03. Pasión & Tango (Libertella) 3.47
04. Oblivión (Piazolla) 4.18
05. Sabor a Buenos Aires  (Libertella) 2.44
06. París Otoñal (Libertella) 4.11
07. Muerte del Ángel (Piazzolla) 3.08
08. Bajo Romántico (Libertella/Murtagh) 4.09
09. Invierno Porteño (Piazzolla) 3.45
10. De Azul y Barro (Libertella) 2.45
11. Gallo Ciego (Bardi) 3.03
12. Romance de Tango (Stampone) 3.00
13. El Marne (Arolas) 2.25
14. Tierra Querida (De Caro) 3.28
15. Romántico Bandoneón (Libertella) 3.28