Tango music rapidly became a global phenomenon as early as the beginning of the twentieth century, with about 30% of gramophone records made between 1903 and 1910 devoted to it. Its popularity declined between the 1950s and the 1980s but has since risen to new heights. This Companion offers twenty chapters from varying perspectives around music, dance, poetry, and interdisciplinary studies, including numerous visual and audio illustrations in print and on the accompanying webpages. Its multidisciplinary approach demonstrates how different disciplines intersect through performative, historical, ethnographic, sociological, political, and anthropological perspectives. These thematic continuities illuminate diverse international perspectives and highlight how the art form flourished in Argentina, Uruguay and abroad, while tracing its international and cultural impact over the last century. This book is an innovative resource for scholars and students of tango music, particularly those seeking a diverse international perspective on the subject.
“When The Levee Breaks” is a powerful, thought-provoking and emotionally-charged classic by Led Zeppelin, from their Led Zeppelin IV album. The song is a rework of the 1929 original release by Kansas Joe Mccoy and Memphis Minnie about the Great Mississippi Flood of 1927; the most destructive river flooding in U.S. history.
“It seems that little has changed since 1927, or even 2005 with Katrina. It’s still a really powerful track, both musically and lyrically.”- John Paul Jones
Legendary multi-instrumentalist, John Paul Jones, is accompanied by Stephen Perkins of Jane's Addiction, Susan Tedeschi, Derek Trucks and over 20 musicians and dancers from seven different countries, in this Song Around The World version featured in Peace Through Music: A Global Event for the Environment.
Feel the impact of these compelling lyrics and let the music move your spirit!
"When The Levee Breaks" was written by John Bonham, John Paul Jones, Kansas Joe Mccoy, Memphis Minnie, Jimmy Page and Robert Plant
This Song Around The World was produced by Sebastian Robertson and Mark Johnson
FEATURING:
Alfredo Arce: Siku Flute
Ben Lee: Harmonica
Buffalo Nichols: Vocals, Guitar
Davey Chegwidden: Dundun Drums
Derek Trucks: Slide Guitar
Drums of the Pacific: Dancing, Log Drums
Elle Márjá Eira: Vocals
Jason Tamba: Banjo
John Paul Jones: Bass
Keith Secola: Slide Guitar
Mermans Mosengo: Harmonica
Mihirangi: Vocals
Nakeiltha Campbell: Dundun Drums
Pete Sands: Acoustic Guitar
Sebastian Robertson: Electric Guitar
Sikiru Adepoju: Talking Drum
Susan Tedeschi: Vocals
Stephen Perkins: Drums
Watch "Peace Through Music: A Global Event for the Environment."
Learn more at https://playingforchange.com/peacethr...#PeaceThroughMusic2021#EnvironmentalJustice
Learn More About Our Impact Partners:
https://www.americanrivers.orghttps://www.worldwildlife.orghttps://reverb.orghttps://www.conservation.org
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Corning® Gorilla® Glass launched in 2007. Since its inception, Gorilla Glass has become the glass of choice for mobile consumer electronics manufacturers around the globe. The patented, durable glass technology has been designed into more than 8 billion consumer electronic devices by more than 45 major OEMs. Formed through Corning’s proprietary fusion draw process and strengthened through an ion-exchange process, Corning Gorilla Glass continues to deliver industry-leading performance and durability with a thin, pristine surface that is ideal for the mobile consumer electronics industry as well as automotive applications.
Audio-Technica—Audio pioneer in high-performance sound design
Established in 1962, Audio-Technica is a worldwide group of companies devoted to the design, manufacture, marketing and distribution of problem-solving audio equipment. Initially known for state-of-the-art phonograph cartridges, A-T now creates high-performance microphones, headphones, wireless systems, mixers and electronic products for home and professional use. For more information visit: https://www.audio-technica.com
Playing For Change (PFC) is a Certified B Corp (Social Purpose Organization) created to inspire and connect the world through music, born from the shared belief that music has the power to break down boundaries and overcome distances between people. The primary focus of PFC is to record and film musicians performing in their natural environments and combine their talents and cultural power in innovative videos called Songs Around The World. Creating these videos motivated PFC to form the Playing For Change Band—a tangible, traveling representation of its mission, featuring musicians met along their journey; and establish the Playing For Change Foundation—a separate 501(c)3 nonprofit organization dedicated to supporting music programs for children around the world. Through these efforts, Playing For Change aims to create hope and inspiration for the future of our planet. To learn more, visit https://playingforchange.com
To learn more about the work of the PFC Foundation, visit http://www.playingforchange.org
Jessica gave this presentation at the 2019 Albuquerque Tango Festival. This is a condensed "practice" version.
From the YouTube description: Let's talk about tango music! As dancers, knowing more about tango music's history and development can help us shine -- as well as make dancing a lot more fun. This talk from tango DJ Jessica Schilling goes over some of the history of tango music, what we can learn from the different eras of tango to help inform our dancing, and what we can bring with us into the milonga. It's a condensed version of a presentation given 9 November 2019 at the Albuquerque Tango Festival.
Big thanks to Pablo Stafforini for creating the wonderful "20 Tango Endings" video included in this talk!
Gustavo Santaolalla is the force behind Bajofondo Tango Club aka Bajofondo. He won two consecutive Academy Awards for Best Original Score for the films Brokeback Mountain and Babel in 2005 and 2006 respectively.
So, as I pointed out in Part I (parroting what Elizabeth said in her post), it's important to listen to a lot of tango music. The good stuff, not the bad shit. It's also important to have some background into what you are listening to. The structure and the elements and all that musicological jazz.
It's also important to think (hard) about what you are listening to. Sure, yes, just "listen" sometimes, letting the music wash over you and envelope your heart and soul, only engaging your brain by maybe throwing in some astral projection (see Part I). But sometimes do engage your brain, and think about the structure and elements Michael describes. And describe it very well does he. Not sure why I just dropped into Yoda-speak. (grin)
I would add a fifth element to acknowledge/be aware of/think about whilst listening. Another element beyond beat, rhythm, melody, and lyrics.
That fifth element would be emotion. First, the emotion "of" the music. Inside it. Emanating from the instruments, emanating from the musicians through their instruments. The vibrations sent forth across the air, making contact with your ear drums. Next, doing all the primordial things that the miraculous human body and brain does, all of the energetic electro chemical type stuff swirling around your heart and your soul and your being. Eliciting some sort of emotional response, hopefully. Your internal emotional response to the emotionally infused music that was just delivered unto you. You might ask ten different people to describe the emotion(s) "of" a particular song and get ten different answers. Then you might get different responses if you ask about the internal emotions of the listener, or rather their emotional responses. The stuff that wells up inside you when you listen to a really beautiful tango. Your favorite tango. The bubbles that form on the surface of your primordial ooze and then pop, manifesting into righteousness multitudinous itty-bitty thought bubble/clouds that we think when we're emotionally vibrationally energetically stimulated. Whilst dancing. Dancing tango. To good tango music. Dancing tango to good golden-age tango music. The warm and fuzzy shit.
Is there a song that makes you cry every time you listen to it? Or nearly every time? Or even some times? For me it's this one. I don't know why. I don't have any historical or experiential connection to the song. But it gets me nearly every time. It's just so fucking beautiful. And the magnitude of the beauty that the human animal is capable of creating. And the magnitude of the utter destruction of humanity itself, not to mention the destruction of the planet, unleashed by humanity itself. That's what gets me when I listen to this one. I think. Perhaps.
But I digress.
Hell, that one, perhaps, being the fifth, might even be the elusive quinta essencia. The Fifth Element. The Quintessence. Earth, Fire, Water, Air. Tango.
Okay, maybe the emotion of tango music isn't actually "THE" Quintessence of Tango.
But maybe it (the emotion of tango) just touches the surface of the concept (of the quintessence of tango).
Like a single candle illuminating a large dark room.
If you've read my blog for any length of time, you'll know that I tend to go round and round and digress all over the place and then gel it down to something in the end. That's what I love about extemporaneous writing disjointed bullshittery. Not knowing the point/conclusion/gist of what I'm writing until I get to the end, and I'm kinda sitting here pondering what I've just written. And then it comes to me. Voilà. I like that.
My point with this one, the point that I didn't realize until I got to the point of writing all the drivel above, is that for your musicality to flourish, there needs to be a direct connection between it and your emotions and the emotion(s) of the music. Think of it as a web of energetic interconnectivity/ed/ness.
I first heard/discovered Fabrizio Cammarata in Austin, well, outside of Austin in Wimberley, a number of years ago...happened across this first one whilst putzing around this morning...and then found the second one searching further...
There is nothing quite like live music, in person, being right there in the moment...
I like the first performance better...
From wiki: La Llorona - In Mexican folklore, La Llorona (pronounced [la ʝo.ˈɾo.na], "The Weeping Woman") is a ghost of a woman who lost her children and now cries while looking for them in the river, often causing misfortune to those who are near, or who hear her
Nuevo videoclip de 7 de enero, tango de Javier Arias que registramos en nuestro ultimo disco "Tu lado acústico" con la aparición estelar de: Roxana Suarez/Sebastián Achaval, Inés Muzzopappa/Fernando Galera y Rocio Lequio/Bruno Tombari.
On the subject of why La Cumparsita is played as the last song at milongas:
This from Glen Royce on Facebook:
Alex: Ahhh- I thought the story was more well-known! :) Pugliese was a communist, and one night the police showed up at the milonga where his orquestra was playing, to bring him in, right when they were playing 'La Cumpa' ...my good tanguero friends down here in BA who are in their 70's and 80's say he WAS arrested, and so the milonga was finished- end of the night! (because the orquestra's director had been taken away...!) Anyway, feel free to read and visit the folllowing : ;)
"Once when Pugliese was playing La Cumparsita, the police entered the club he was performing in, and directed everything to stop as he was banned. The club owners said that they could not be interrupted whilst the orchestra was playing and the dancers was tangoing. On stage, Pugliese was told about this - so started playing La Cumparsita over and over again. The audience just kept on dancing! Eventually the police gave up and left. It was, perhaps, a world record in playing La Cumparsita?"
***Again, I have been told Pugliese DID get arrested and the milonga was finished for the night (no more director OR pianit...!) So that was the last song of the night! :)
Saturday, April 22, 2017
¿Por qué La Cumparsita es el último tango de la milonga? (Why is La Cumparsita the last tango of the milonga?)
Los milongueros asocian este tango inmortal con Juan D’Arienzo, El Rey del Compás, porque revolucionó todo el mercado con su grabación.
The milongueros associate this immortal tango with Juan D'Arienzo, El Rey del Compás, The King of the Beat, because he revolutionized the whole market with his recording.
Fue además el tema que más veces grabó, hasta en 7 oportunidades. En los años 1928 y 1929, con las voces de Carlos Dante y Raquel Notar, respectivamente, para el sello Electra, propiedad de su tío, Alfredo Améndola. Y luego para el sello Victor en otras cinco placas, en los años 1937, 1943, 1951, 1963 y 1971. La placa de 1951 tenía en la otra faz, la milonga de Pintín Castellanos La Puñalada, que también registró en cuatro ocasiones, y batió records de venta.
It was also the tango that he recorded the most times, up to 7 opportunities. In 1928 and 1929, with the voices of Carlos Dante and Raquel Notar, respectively, for the Electra label, owned by his uncle, Alfredo Améndola. And then for the Victor label on five other records, in 1937, 1943, 1951, 1963 and 1971. The record of 1951 had on the other side, the milonga of Pintín Castellanos La Puñalada, which also recorded four times, to became a sales blockbuster.
La versión de 1951 fue tan famosa, con más de un millón de discos vendidos sólo en Argentina, y más de doscientos mil en Japón, que el público deliraba al escucharla en sus presentaciones en vivo, entonces Juancito decide dejarla siempre para el final de sus shows, como la frutilla del postre.
The 1951 version was so famous, with more than one million albums sold only in Argentina, and more than two hundred thousand in Japan, that the audience raved when listening to it at their live performances, so Juancito decides to leave it always for the end of their Shows, as the icing on the cake.
Y fue así que se impuso como cierre de las milongas a partir de de los años cincuenta en todos los clubes de Buenos Aires. Y quedarse sin bailar este último tango significaba toda una frustración.
And so it was imposed as a closure of the milongas since the fifties in all clubs in Buenos Aires. And then, staying without dancing this last tango meant a whole frustration.
Los muchachos de entonces se reunían para escucharla y también se armaba toda una revolución en las milongas con este tema. Fulvio Salamanca, el pianista de D’Arienzo por 17 años, tuvo especial intervención en los arreglos de esta versión de 1951 y se nota su sabia mano en el resultado final. Una obra maestra y super milonguera.
The guys of the time met to listen to it at home, the streets, everywhere, and then a whole revolution was set up in the milongas with this tango. Fulvio Salamanca, the D'Arienzo pianist for 17 years, had an special intervention in the arrangements of this version of 1951 and it shows his wise hand in the final result. A super milonguera masterpiece.
A continuación La cumparsita por la orquesta de Juan D'Arienzo, en su versión del año 1951, quizás la más famosa de todas.
Next The cumparsita by the orchestra of Juan D'Arienzo, in its version of the year 1951, perhaps the most famous of all.
Presten atención al toque magistral del piano a cargo de Fulvio Salamanca, que le imprimió el clásico compás a la orquesta, una variación moderna y menos eléctrica, que la que le impusiera Rodolfo Biagi.
Pay attention to the masterful touch of the piano by Fulvio Salamanca, who impressed the classic compass to the orchestra, a modern and less electric variation, than that imposed by Rodolfo Biagi.
Escuchen a Enrique Alessio, primer bandoneón, en su famosa variación del segundo coro, magistral, sin palabras.
D'Arienzo, and his line of bandoneons
Junnissi, Lazzari and Alessio
Listen to Enrique Alessio, first bandoneon, in his famous variation of the second choir, masterful, without words.
No dejen de lado la melancolía del final, con el toque impecable del primer violín de la orquesta, Cayetano Puglisi.
Do not leave aside the melancholy of the end, with the impeccable touch of the first violin of the orchestra, Cayetano Puglisi.
Finalmente, la perfecta sincronización instrumental que en corto tiempo le diera a Juan D'Arienzo el acertado calificativo de El Rey del Compás.
Finally, the perfect instrumental synchronization that in a short time gave Juan D'Arienzo the correct qualifier of El Rey del Compás, the King of the Beat.
¡A disfrutar esta joya!
Enjoy this gem!
Here's my prior post:
La Cumparsita is the song that is traditionally the last song played at a milonga. It signals to everyone that this is the last song, and that the milonga has concluded. There was a time when I was on a mission to collect as many versions of the song as I could find. At this point, I have forty [40] distinct versions.
It was written by Gerardo Hernán Matos Rodríguez, an amateur pianist and architecture student, in late 1915 or early 1916 by all accounts. He was 17 years old when he wrote it. It's important to note that he was a student in Montevideo - so the song originated in Uruguay.
The song has a very interesting story behind it - with changed lyrics, new music arrangements, ownership and royalties lawsuits (four or five), and plenty of drama over the years. It's often billed as "the most famous tango in the world". Astor Piazzolla called it "the most frighteningly poor thing in this world" in reference to the original score by Matos Rodríguez and its simple melody.
Here are a couple of links to good, in depth treatments of the song and its history:
Note that both of these sites contain a wealth of information about tango music and all things tango.
Alberto Paz' www.planet-tango.com includes a lyrics translation of the re-written version. Alberto's site is well known for his lyrics translations, and also includes a wealth of information about tango.
This 1930 version, with the original lyrics sung by the opera singer Tito Schipa, is my personal favorite.
Lastly, here's a "mashup" of many versions over 26 years...
Until the philosophy which hold one race superior And another Inferior Is finally And permanently Discredited And abandoned - Everywhere is war - Me say war.
That until there no longer First class and second class citizens of any nation Until the colour of a man's skin Is of no more significance than the colour of his eyes - Me say war.
That until the basic human rights Are equally guaranteed to all, Without regard to race - Dis a war.
That until that day The dream of lasting peace, World citizenship Rule of international morality Will remain in but a fleeting illusion to be pursued, But never attained - Now everywhere is war - war.
And until the ignoble and unhappy regimes That hold our brothers in Angola, In Mozambique, South Africa Sub-human bondage Have been toppled, Utterly destroyed - Well, everywhere is war - Me say war.
War in the east, War in the west, War up north, War down south - War - war - Rumours of war. And until that day, The African continent Will not know peace, We Africans will fight - we find it necessary - And we know we shall win As we are confident In the victory
Of good over evil - Good over evil, yeah! Good over evil - Good over evil, yeah! Good over evil - Good over evil, yeah! /fadeout/
