Time: 39:53
Size: 91.3 MB
Styles: Tango
Year: 2013
Art: Front
[3:51] 1. Bailando En El Alvear
[2:14] 2. Isidoro C
[2:35] 3. Independencia Rag
[3:42] 4. Volve Con Tu Mama
[2:23] 5. Paseando Por Santa Fe
[2:52] 6. Tango Reo
[3:48] 7. Esa Locura
[3:46] 8. Adios
[3:48] 9. Habanera Elegante
[2:40] 10. Harold Philips
[3:52] 11. Milonga Trucha
[4:16] 12. Murga Triste
Juan Carlos Caceres: Piano, Trombon, Kazoo, Voz; Frederic Truet: Flauta, Clarinete, Saxo; Didier Schmitz: Banjo Guitarra, Contrabajo; Guillermo Venturino: Cajon, Bombo,Washboard, Congas.
Those who enjoy authenticity, passion and passionate inspiration are in for a treat. Cáceres is unique and returns like a whirlwind, opening the spectrum of his music as much as the urgency of his pulse demands. Cáceres returns more personal than ever, pure present and all roots.
Tango, milonga, candombe and murga - the styles of the Rio de la Plata - are added, among a sea of influences, swing, dixieland and charleston, which is not surprising knowing that Cáceres was a trombonist of jazz in the existentialist Buenos Aires. In "Gotan Swingl" there is no bandoneon, the most characteristic instrument of tango, instead he has used clarinet, trombone, piano, flute, tenor sax, banjo, guitar, double bass, cajón and bass drum among others, to lay the foundations of the songs . Notorious sensitivity for the new Argentine music, for the tango and its succulent derivatives, for the fusion of the old and the modern. (Translated from Spanish.)
Those who enjoy authenticity, passion and passionate inspiration are in for a treat. Cáceres is unique and returns like a whirlwind, opening the spectrum of his music as much as the urgency of his pulse demands. Cáceres returns more personal than ever, pure present and all roots.
Tango, milonga, candombe and murga - the styles of the Rio de la Plata - are added, among a sea of influences, swing, dixieland and charleston, which is not surprising knowing that Cáceres was a trombonist of jazz in the existentialist Buenos Aires. In "Gotan Swingl" there is no bandoneon, the most characteristic instrument of tango, instead he has used clarinet, trombone, piano, flute, tenor sax, banjo, guitar, double bass, cajón and bass drum among others, to lay the foundations of the songs . Notorious sensitivity for the new Argentine music, for the tango and its succulent derivatives, for the fusion of the old and the modern. (Translated from Spanish.)
Gotan Swing mc
Gotan Swing zippy
For those who don’t know, the Alvear is Buenos Aires’s most distinguished traditional hotel, so the first cut here, “Bailando en El Alvear” (Dancing at the Alvear), partly in Spanish, partly in French, is charmingly and mock ironico-nostalgically evocative of Beluga caviar on toast and tinkling wine glasses. For me, this CD is a sucker punch – and I am happy to take it. I love this, though, as always happens, some cuts are better than others. I adore Bailando, Con tu mama (with its evocation of the golden age of leisurely Transatlantic crossings by ocean liner, the fetching young girls to dance with, the mamas), Passeando por Santa Fe. I could live without the Independence Rag and another couple. But that’s the way it goes, no problem. Have I now had my fill of Juan Carlos Cáceres? Yes . . . if so it must be. Confess, however, that I am still curious about the Cáceres album with the irresistible title “Champán Rosado” – so, if it ever makes itself available, I’m up for it. (But could it be that the title song there is the same “Volvé con tu mama” that, here on Gotán Swing, itself makes reference to champán rosado?”) By the way, I notice there is now a second someone, among the faithful, signing himself “Mark” – so I shall henceforth sign as MarkBB.
ReplyDeleteexcelente post, gracias
ReplyDeleteThis is delightful.
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