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Title A Night In Buenos Aires Subtitle Classic & Contemporary Rhythms From The Birthplace Of Tango Artist Various Format: Double CD Cat. No.: METRDCD574 Barcode: 698458707420 Playing Time: Approx 2 hours

  This 2CD set gives you a taster of the many great sounds available in Buenos Aires today. Established big name performers alongside the new generation of highly talented artists on the Tango scene. This vibrant and beautiful city now sees swarms of young Europeans and North Americans going down to reside there. One of the biggest reasons is Tango, to learn both the music and the dance. This is a cheaper alternative than the airline ticket to the Rio De La Plata, but hopefully it will entice you to eventually go and live that dream: A Night In Buenos Aires.

Track List 1 Juan Carlos Caceres - Tocá Tangó 2 Virgilio Exposito & Litto Nebbia - Batilana 3 Melingo - Noche Transfigurada 4 Carlos Gardel - Volver 5 Juan Carlos Caceres - Currar Es Un Deber 6 Adriana Varela - Tangos De Lengue 7 Melingo - Angurrienta 8 Juan Carlos Caceres - Unas Carabelas 9 Astor Piazzolla - Tanguedia I 10 Astor Piazzolla & Roberto Goyeneche - Vuelvo Al Sur 11 Melingo - Ayer 12 Melingo - Narigón (Dub) 13 Adriana Varela - Los Mareados 14 Astor Piazzolla - Adios Nonino CD2 1 Astor Piazzolla - Libertango 2 Orquesta Típica - La Cumparsita 3 Astor Piazzolla - Milonga Del Angel 4 Nebbia Litto / Reyes Tito - Donde Se Engarzan Estrellas 5 Melingo - Leonel "El Feo" 6 Cuarteto Almagro - Pantera Tanguera 7 Adriana Varela - Anclao En Paris 8 De Puro Grupo - Tortazo 9 Melingo - Pesar 10 Adriana Varela - Los Compadritos 11 De Puro Grupo - Leguizamo Solo 12 Juan Carlos Caceres - A Ver Si Te Animas 13 Hugo Diz & Litto Nebbia - Nadie Quiere Nombrarla 14 Tito Reyes & Néstor Marconi - Cielo De La Calle Corrientes 15 Melingo - La Guitarra 16 Astor Piazzolla - Muerte Del Angel

 

Sleevenotes
There he was, opening up the old chest and retrieving his childhood memorabilia. Old drawing pads with many sketches of views through the windows of aircraft, most of these depicting the lights of cities seen from above, airports and aircraft taking off at night, revealing much about his early days spent as a UM, or Unaccompanied Minor, whilst flying over the enormous Atlantic, bound for his native America; the New World as the Europeans called it 500 years ago. This man, now in his thirties, conjured up in a second all the memories of emotions, smells, tastes, temperatures and, above all, musical differences. All so intriguing in the mind of this unwitting young adventurer: yours truly. Back then, a flight from London to Buenos Aires entailed many stop-overs and changes of aircraft over the course of up to 20 hours. In one trip one got to sample something of every South American latitude. The first touchdown was always in Recife (Northeastern Brazil). It was the first refuelling point in America we would reach, generally at 4am. While alighting, a wall of hot humid air and kerosene would hit you and small sugary cups of coffee would be ready in the transit hall, where we would wait 45 minutes before boarding to head further south. Then there was Rio, Sao Paulo, Porto Alegre, Montevideo and finally, a gigantic brown river looking more like a sea, would open up below the flight path, and you knew we were about to land on the other side, in the world’s most intense city: Buenos Aires. Being a teenager in Buenos Aires was a difficult affair in the early eighties. The dictatorship was still in place and people did not dare utter a single word about politics. Paranoia in intellectual circles ran at fever pitch. However, in spite of this, people never lost the savoir vivre, and a single week was so intense that it felt like the equivalent of a month in Europe. Restaurants and theatres always full of beautiful people, everyone with friends and family, people showing each other affection, spontaneous and uninhibited. My returns to Europe were always marred by nostalgia and melancholy and a feeling that I would return to live in Buenos Aires some day. To overcome this, I would always take refuge in my old LPs of Argentine music. Since the late fifties and early sixties Argentina had taken the lead in the entire Spanish-speaking world when it created what were to be the world’s first rock-en-español bands. Tanguito, the young rocker from suburban Buenos Aires was already doing the sex, drugs and rock’n roll thing long before most had even heard of it; composing songs, spending time in jail and mental hospitals and even dying tragically under the wheels of a train. Eat your heart out James Dean. Rock groups such as Spinetta Jade, Almendra, Sui Generis among others were writing anthems that would spread to the rest of Latin America and start the trend that spawned later generations of artists who would themselves touch the lives of many young people in a country where music is strongly associated with identity (political and the like) and acts as a motive for congregation. Even more interestingly, my promoter colleagues reported an increase in cultural activity with the economic crisis of 2001, par contraire to most other nations on earth where cultural consumption equates directly to economic “surplus” and depends on it for its survival. The porteños are definitely a unique collection of people. They are descended from those 19th Century emigrants who had the courage to leave their nations and past, cross the ocean and hope for a better future in a faraway land. There is still something of the maverick in their spirit, a chronic despondency weirdly coupled to great optimism, it is often mistaken for “arrogance” by many other Spanish speakers. This is the essence of Tango, despondently optimistic, and like Peronism (the populist Argentine political movement started by Juan Peron), unique to Argentina. With this collection I have tried to provide a taster of the many great sounds available in BA today, from Rock to Tango, through Folk and Jazz. It reveals the new generation of highly talented artists on the scene who are currently producing some of the best material in ages, coinciding with an increase in interest among young people both in music and dance. Swarms of young Europeans and North Americans are now travelling down to reside In Buenos Aires. One of the main reasons is Tango, to learn both the music and the dance. This 2CD set is a cheaper alternative than the airline ticket to the Rio De La Plata, but I hope it will entice you to eventually go and live that dream: A Night In Buenos Aires. CD1 1. JUAN CARLOS CACERES - TOCA TANGO Juan Carlos is a larger-than-life character, a real bear-like porteño with a growling voice and attitude through and through. He has been researching the history of Tango for over 30 years, and has recouped much of the African influence in the music. Tocá Tangó tells the story of how blacks in Argentina would play the Tangó (the head of the drum to African slaves) in order to forget their sorrows - if they were lucky enough not to be sent to fight in the wars of independence from Spain, where most were to die. 2. VIRGILIO EXPOSITO & LITTO NEBBIA - BATILANA Batilana, a meat worker at the BA central market (El Abasto) is a big mouth, and eavesdrops in all the wrong conversations. “His back carried all the frozen meats and His tongue was quicker than lightning”. Inevitably, our market-worker friend Batilana ends up dead on the pavement, shot by someone he gossiped about. One of the Tango greats, Homero Exposito wrote this poem for Litto Nebbia (one of Argentina’s veteran rockers who worked with Tanguito) to put music to. When Homero died, Nebbia showed this poem to Homero’s brother, Virgilio, and both decided to record it. This is simply sublime, and Virgilio’s voice and accent could not be from anywhere other than BA. 3. MELINGO - NOCHE TRANSFIGURADA It is my opinion that Melingo is one of modern Tango’s greatest singer-songwriters. His past has been very turbulent and it shows right through the authenticity of the words and feel of his songs, many of them autobiographical and very satirical. Melingo manages to sound like one of the old-timers with his guitar-based arrangements, yet talks about life in Buenos Aires in the new millennium, and has become a big noise in France lately. He has reintroduced percussion, including the Indian tabla, to the milonga in a very effective manner. In Noche Transfigurada he sets out for a club, to dance with all the “farfalas” (ladies), but has no money to get there, and gets mugged on the way. So he gives up and returns home to sleep. 4. CARLOS GARDEL - VOLVER Carlos Gardel was to Tango what Pavarotti is to Opera – a king. He possessed a fantastic baritone voice and became one of Latin America’s biggest selling artists of all time. He died in an aircraft accident in Colombia in 1935, becoming a legend both in Argentina and other parts of the world. Bing Crosby said of him: “this man has a tear in his voice”. Interestingly, he died just before appearing in his first Hollywood movie. 5. JUAN CARLOS CACERES - CURRAR ES UN DEBER Currar es un deber translates as “thieving is a moral obligation”. Juan Carlos is very sarcastic in this song, talking of today’s concept of neo-liberal “progress” and telling listeners how very “well off” we all are these days (“here we all are, happily counting all the banknotes. The stock-exchange rises and it falls, in nearly all places, 24hrs round the clock, money shifts around looking for someone else to shaft””). In a world where big business steals oh so “legitimately”, JC makes it everyone’s duty to follow the corporate lead and steal for themselves. 6. ADRIANA VARELA - TANGOS DE LENGUE The Tangos de Lengue was a collection of poems by one of Tango’s heavyweight poets, Enrique Cadicamo, “dandy of the 20th century”. Enrique was born at the very beginning of the 1900s and died right at the very end. He would often use the language of the “compadritos” (the street characters of the city) in writing his poetry and Adriana Varela, arguably one Tango’s most successful voices in the last 10 years, sings marvellously in her raucous sexy voice. 7. MELINGO - ANGURRIENTA Here is Melingo trying to approach a girl who has a somewhat inflated opinion of herself and turns her face away every time he approaches her. “I just want to see you dance”, he tells her. 8. JUAN CARLOS CACERES - UNAS CARABELAS A bit of history about the foundation of BA: “Some caravels are sailing away down south, looking for that entrance to another sea (alluding to the Pacific Ocean)... they ended up in a big wide river... a few savages on the shoreline had to be killed... Rio de la Plata (River of Silver) is going to be its name, and with such promises... well, what can one do?” The entire conquest of Hispanic America started out with Europeans seeking riches to return to home with. BA has just such a story. 9. ASTOR PIAZZOLLA - TANGUEDIA I Mixing tragedy with tango yields something new called Tanguedia (tanguedy). Once again it’s a Piazzolla trilogy, most of which were noted for their common feel. Featuring on great producer Kip Hanrahan’s Buenos Aires Hora Cero, the Tanguedia became a well established part of the Piazzolla repertoire. 10. ASTOR PIAZZOLLA & ROBERTO GOYENECHE - VUELVO AL SUR Astor Piazzolla composed this with the man most people would agree is the greatest tango poet and historian alive today, Horacio Ferrer. “Return to the south” is an anthem to all Americans (as Amerigo Vespucci intended it) from the southern half of the enormous continent spanning the earth from the South to the North pole. “I return to the south, as one always does to love, I return to you, with my desire, with my fears… I feel the south, enormous moon, sky upside down…”. 11. MELINGO - AYER Leaving your Barrio was a very traumatic and important experience for the Tango artists of yesteryear, and consequently, many Tangos deal with this event. Melingo revisits this event and is accompanied “figuratively” by the band playing a sad melody as he leaves for another life. 12. MELINGO - NARIGON (DUB) This is probably the most autobiographical piece on Melingo’s innovative “Tangos Bajos” CD. It’s about a guy who thought he was very cool, but increasingly people realised he was slipping away on the road to drug addiction. Narigon (big nose) is the rather telling title. 13. ADRIANA VARELA - LOS MAREADOS A Tango classic. It was written by Cadicamo and with music by a heavyweight Tango pianist, the late Juan Carlos Cobian, who was also renowned for his enormous hands and his fighting ability in the bars. Los Mareados (the “tipsy/dizzy” ones) is about two lovers who are drinking away together to drown the sorrows of their separation. “Tonight my friend, alcohol has inebriated us, why should I care if they laugh and call us the dizzy ones”, is a declaration of affection and a final goodbye. “Tonight, you are going to enter my past”. 14. ASTOR PIAZZOLLA - ADIOS NONINO Perhaps Piazzolla’s best known piece, written for his father (ie, his children’s granddad - “nonino” as he is commonly known in Italian – Piazzolla’s origins) upon his death. This is probably one of the world’s most beautiful pieces of music, featuring a crescendo that rises almost as quickly and as intensely as the Buenos Aires night. CD2 1. ASTOR PIAZZOLLA - LIBERTANGO Thanks to a 1970s cover version by Grace Jones, this famous Tango by the great master was the first one to become internationally famous. With numerous covers and synchronisation rights for television and publicity over the years, this track can be recognised instantly by people who have never heard of Piazzolla. 2. ORQUESTA TIPICA - LA CUMPARSITA La Cumparsita was written by the young Mr Matos-Rodriguez from Uruguay and is probably the most famous tango song in the world. As the curious story has it, Mr Matos-Rodriguez was under 17 years of age when he composed the song, something his lawyer was able to demonstrate years later in court to show that when Matos-Rodriguez had signed away the rights to the song he was not of legal age, and therefore all rights as well as profits still belonged to the young composer. Doubtless he was overjoyed. 3. ASTOR PIAZZOLLA - MILONGA DEL ANGEL Another one of Piazzolla’s masterpieces, the Angel’s Milonga forms part of a trilogy, which Piazzolla composed during the 1960s. The Milonga, one of Argentina’s original guitar (and singing) styles from the 1800s, still forms part of Piazzolla’s original band’s high points. It is traditionally recognised that the Milonga was fundamental in the development of the Tango at the end of the 1800s. 4. LITTO NEBBIA & TITO REYES - DONDE SE ENGARZAN ESTRELLAS Tito Reyes was the last great singer to lead Anibal “Pichuco” Troilo’s orchestra back in the 1960s. Nebbia decided to put music to a lot of Reyes’ “street poetry” and we can hear another old, unmistakable Buenos Aires voice. It’s full of passion, hope and recollections of his youth in his house at night, where imaginary stars are coupled, shining from afar yet so vividly, like memories, onto the ceiling of his bedroom. 5. MELINGO - LEONEL ‘EL FEO’ This is dedicated to one of Tango’s great voices, Edmundo Rivero. Melingo’s father was Rivero’s manager for many years, which meant the young Daniel (yet to become Melingo) was exposed to the art from early in life. Melingo has used Rivero’s lyrics on several occasions on his CDs, such as “Tangos Bajos” and “Ufa”. 6. CUARTETO ALMAGRO - PANTERA TANGUERA A fantastic Tango version of an instantly recognisable tune by the legendary Henry Mancini, The Pink Panther. I have always found this adaptation extremely interesting and very natural. Perhaps it is the common Italian roots of Tango and Mr Mancini that make this famous tune sound so right when done in Argentino. 7. ADRIANA VARELA - ANCLAO EN PARIS Cadicamo wrote back then a song (Anchored in Paris) about what is a rather contemporary issue in modern Argentina: emigration. Many young people emigrated to Europe after the 2001 crisis. The Argentine émigré here, however, is from an earlier era, and looks out through his window, onto the Montmartre boulevard as it snows. He is bankrupt and feels homesick, wondering how Buenos Aires must be 20 years after he left, never to return. “Maybe one day, I’ll come face to face with death, and ciao Buenos Aires, I’ll never see you again !”. 8. DE PURO GRUPO - TORTAZO This is a Milonga classic. The chap singing here is hurt and resentful towards the woman who abandoned him and the borough where they lived to set up home with another man in a better area. He questions her sincerity: “they conquered you money, and trotting you ran towards your objective… out went the plimsolls along with all the other old things. It was always your ambition to “feature” in high circles… now you’ve even got a husband. The things one has to put up with!” 9. MELINGO - PESAR Again, something of an autobiographical theme as Melingo deals with “slipping into the world of drug abuse”, as a consequence of being abandoned by his lover. “Morphine was my real sister… and any class (I had) went straight to the bin… I will die laughing…” 10. ADRIANA VARELA - LOS COMPADRITOS Echoes of the past, echoes of the authentic Buenos Aires. “The compadritos who existed so long ago, no longer exist on our streets. Neither do the arrabales (traditional boroughs). The compadritos were the ones who would get together and bring down the cabaret. Buenos Aires is no longer what it used to be…. The compadritos are but ghosts of old corner shops”. 11. DE PURO GRUPO - LEGUIZAMO SOLO Leguizamo was Argentina’s greatest ever jockey. Winner of countless races on Argentine racetracks, he was known for his arrogant style. This is the way tango used to sound in the earlier parts of the 1900s, when guitars were still the main instruments associated with the genre, before being substituted later by the piano, bandoneón, violin and double-bass. Here, Leguizamo’s embarks on another winning race and the punters all scream together “Leguizamo’s on his own”, until the horse crosses the finishing line leaving everyone delirious. 12. JUAN CARLOS CACERES - A VER SI TE ANIMAS The resurgence in interest in old musical forms has seen the glorious return of the “Murga” to the streets and squares of Buenos Aires. The Murga has its roots in Cadiz, Spain and it generally consisted of a male choir with no instrumental accompaniment. In the south of America it took on an entirely new form when it encountered the sounds of the African slave populations, giving way to a fantastic dance and percussive song mix. Young people in Buenos Aires today have embraced the Murga and taken it to new levels. In this song, JC tells us about this and is accompanied in this song by La Chilinga, perhaps BA’s leading Murga outfit. 13. HUGO DIZ & LITTO NEBBIA - NADIE QUIERE NOMBRARLA The poet Hugo Diz comes from another one of Argentina’s great musical cities, Rosario in the province of Santa Fe. Litto Nebbia follows his love of poetry and again puts music to one of his favourites 14. TITO REYES & NESTOR MARCONI - CIELO DE LA CALLE CORRIENTES Nestor Marconi is widely acknowledged to be perhaps Tango’s leading bandoneonista and appears alongside Astor Piazzolla’s original quintet. It is quite a task to be entrusted with the instrument that one of the world’s greatest ever musicians played, even more so when it is his old band backing you. Marconi has true talent and special character and manages this without any effort. 15. MELINGO - LA GUITARRA Federico Garcia Lorca unwittingly collaborates with Melingo. This famous Lorca poem is taken by Melingo who presents it in his own version with his own music. This is an ode to the guitar, comparing the instrument to a living being. “The cry of the guitar is sounding, it is difficult to shut it up. It’s impossible to silence !” 16. ASTOR PIAZZOLLA - MUERTE DEL ANGEL Piazzolla’s re-entry to Buenos Aires spawned a new period for the great composer. His years spent in New York under the influence of Jazz had come to an end. His new band, Quinteto Nuevo Tango, featured Horacio Malvicino (who joined Piazzolla in 1954 and introduced the jazz guitar), Hector Console (to whom he dedicated his “Contrabajissimo”) and the amazing violinist, Fernando Suarez-Paz, who was recently compared (favourably) to the maximal classical violinists of 2000 to whom Piazzolla dedicated his famous “Escualo”.

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