From discogs:
Bandoneon player, born 10 May 1934 in Montevideo, Uruguay.
I guess the most you could say about this is that it's typical bandoneon music similar to certain other albums I've posted here most notably the Nuevo Aires. Although generally well composed, the music here is not as varied and progressively amalgamated (with other instruments, with other sounds and ideas) as the former. It reminds me greatly of Astor Piazzolla's stuff. Both the buzzy, unnatural sound of the instrument and the over-reliance on 'circle of fifths' chord progressions in this stereotypical genre get me a little annoyed by the end of the album, not to mention the irritation of listening to tango measures and picturing a woman in the typical frilly dress with a man in black long coat turning around and making overserious faces when they reach the end of the auditorium. In the end, the sameness is such that skipping from song to song hardly even interferes with the appreciation, such as it might be.
At any rate, here and there we notice attempts at getting creative with the tired genre, as you can see from track b2 called Vuelo 792:
Bandoneon player, born 10 May 1934 in Montevideo, Uruguay.
I guess the most you could say about this is that it's typical bandoneon music similar to certain other albums I've posted here most notably the Nuevo Aires. Although generally well composed, the music here is not as varied and progressively amalgamated (with other instruments, with other sounds and ideas) as the former. It reminds me greatly of Astor Piazzolla's stuff. Both the buzzy, unnatural sound of the instrument and the over-reliance on 'circle of fifths' chord progressions in this stereotypical genre get me a little annoyed by the end of the album, not to mention the irritation of listening to tango measures and picturing a woman in the typical frilly dress with a man in black long coat turning around and making overserious faces when they reach the end of the auditorium. In the end, the sameness is such that skipping from song to song hardly even interferes with the appreciation, such as it might be.
At any rate, here and there we notice attempts at getting creative with the tired genre, as you can see from track b2 called Vuelo 792:
The odd riff-like piano intro leading into a series of chromatic chords entirely justify this record for inclusion on this blog. Unfortunately the over-dramatic minor key bandoneon can't be stopped from making an appearance in the middle section like a high-maintenance blonde girlfriend clamouring for your attention and patience to listen to what happened in her long and horrible day.
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Many thanks.
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