Albums

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Tango - Released September 13, 2005 | Nonesuch

Distinctions The Qobuz Ideal Discography
Of all his recordings, Tango: Zero Hour is the album that the great reformer of Argentinean tango was the most proud of. The one in which he threw all his soul, offering it to his grandchildren saying: “Here’s what we did with our lives! Here’s how complex we were”. In 1986, weary of recording tracks in a hurry for producers, the bandoneonist and composer used his fresh but trustworthy relationship with Kip Hanrahan, a Latin jazz musician and director from New York, to work on the album of his dreams. Tango: Zero Hour. According to Piazzolla, the first sixty minutes past midnight represent the ultimate end and absolute beginning, and inspired him, as such, for one of the most refined and admirable works of his career. This time, each partition was carefully polished and memorised in every detail by his faithful musicians of Quinteto Tango Nuevo. Violinist Fernando Suárez Paz, pianist Pablo Ziegler, guitarist Horacio Malvicino and double bassist Hector Console had been playing together with Piazzolla for seven years. At that point, they were at one with his revolutionary tango. Each sentence, each sound, were played and placed at the exact spot, in the exact manner designed by the master. But this watchmaking-worthy perfection of execution didn’t prevent the work from exhaling emotion and sensuality. There are masterpieces for which superlatives lack, and a single listen of Tango: Zero Hour places it among them. © BM/Qobuz
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Tango - Released November 13, 2015 | Les Grands Fleuves

Hi-Res Booklet
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Tango - Released September 3, 2003 | Columbia

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Tango - Released November 14, 2000 | WM Argentina

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Tango - Released December 4, 2015 | Columbia

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Tango - Released May 10, 2001 | RCA Victor

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Tango - Released March 6, 2014 | RCA Victor

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Tango - Released March 9, 2018 | RCA Victor

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Tango - Released June 12, 2007 | RCA Victor

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Tango - Released April 9, 2001 | Columbia

The Edición Crítica or critical edition underway from Columbia Argentina is a reissue series devoted to the presentation on CD of Astor Piazzolla's LPs, including both the original cover material and an essay expanding upon the information contained there. These materials are in Spanish only, on a two-sided square insert that features the original LP back cover on one side, at something close to actual size. BMG is missing a chance to appeal to worldwide audiences here, for these materials are interesting enough to provide a strong purchase incentive for any serious Piazzolla fan. The back cover of this 1963 album, Tango para una ciudad, includes a terrific quotation from Igor Stravinsky renouncing interest in the musical past and future, and the attempt of the annotator (who is just designated La Madrid) to link Piazzolla's experiments to contemporaneous American jazz are also worth noting. The chief attraction of the series, however, is the renewed availability of a lot of music that has until now been difficult to locate. Tango para una ciudad (Tango for a City, representing a fascinating chapter in the evolution of Piazzolla's identification of his music with the city of Buenos Aires), unless you were lucky enough to own the original LP, has been available only on a six-CD Japanese box set. It's a terrific listen, traveling all over the stylistic map in the course of its 10 tracks. With his Quinteto "Tango Nuevo," the primary vehicle for his music in the 1960s, Piazzolla offers several classics here. The relatively sparse version of Buenos Aires Hora Cero (Buenos Aires at Midnight) here is haunting. And there's no reason that the title track, very much in Piazzolla's progressive mode, shouldn't be as well known as other pieces of its kind; it's a vigorous, spikily dissonant piece, again nicely shaped by the heavily percussive quality of the quintet (electric guitar, piano, violin, and bass along with Piazzolla's bandoneón). Other works are in entirely different styles. There are three songs featuring vocalist Hector de Rosas; they are in a more conservative vein than the instrumental tangos, like most of Piazzolla's vocal music until he encountered a similarly adventurous collaborator in Uruguayan poet Horácio Ferrer. But even at this stage he was seeking out innovators like free-verse specialist brothers Homero and Virgilio Expósito (Maquillaje, track 9). El mundo de los dos (track 7), with words by Albino A. Gómez, by contrast, is Piazzolla in a pure romantic pop mode, but check out the space-age bachelor-pop vocal effects! The instrumental tracks, too, are varied; Revirado, track 6, is a lighthearted Brazilian-flavored number, with a sort of gypsy contrasting strain and some wild guitar effects, a curious sort of 1960s period piece. Highly recommended for Piazzolla fans, and strongly suggested for release in other markets; it wouldn't represent much of an investment for BMG to retain the graphics used for this release, but simply translate the texts.
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Tango - Released January 1, 1990 | RCA Records Label

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Tango - Released February 24, 2014 | Because Music

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Tango - Released February 4, 2014 | Microfon

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Tango - Released January 21, 2014 | Columbia

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Tango - Released March 3, 2014 | Microfon

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Tango - Released July 15, 2011 | Microfon

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Tango - Released July 15, 2011 | Microfon

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Tango - Released January 10, 2001 | RCA Victor

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Tango - Released May 4, 2018 | Columbia

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Tango - Released December 11, 2015 | Columbia