Very often musicians have the burning desire to re-read the music of another musician, to try new concepts with new contents. But sometimes, the meeting of three musicians goes beyond everything expected. They go on stage, play some tunes and the magic happens as if they had always played together.
It could not be any different when you know Norberto Pedreira, Ciro Perez and William Sabatier. Strong from their own experience and projects, they wanted to create a new opus on the quite-unknown in France Tango-Repertoire from the 60's.
This popular music was written at the same time the piazzolian evolution was happening.A few musicians such as Leopoldo Federico, Roberto Grela, Annibal Troilo or Horacio Salgan followed this great movement which opened up new horizons. Tango music gained a rich and strong “tanguera” literature and showed then new colors and contrasts.
In order to know the three musicians a little better, here is a few words about them :
Ciro PEREZ performed with the big names of “Tango” Music during many years in Buenos Aires.
Norberto PEDREIRA is a key “avant-garde” latin musician in the mix of the rhythms of the Latin-American continent.
William SABATIER has an amazing knowledge and passion for the “Tanguera” Culture. Since his teens, he has been spending his time with the best European Tango musicians.
Each of them has a very strong personnality but once they put all their energy together, they become “one”. They are on the same page, speak the same language called “Tango” and above all, they have the same concept on how they should visualize, read, approach it.
The magic and the deep connexion between Ciro, William and Norberto allow them to share intense and spontaneous moments of music.
Each time they play together, their friendship and complicity grow deeper and their emotions more and more intense. We can call them “Real Tangueros”. They see no limits to their art they are so into it ! They have reached the “Synthesis Point” of the Tango: “This unchangeable moment in History when everything comes together to just get out the essence of the soul of the Rio de la Plata.”
A la parrilla
This expression can have different meanings: in Argentina, it means “grill” to roast a piece of meat but in Uruguay « it could be translated as “ jam session”and that would be to play some tango tune or a “milonga”spontaneously and totally improvised just like you would barbecue a piece of meat at the last minute but making your best to cook it just as it should be... » (Astor Piazolla).
This technique of playing music is on its way out. Improvisation is an entire “culture” that's disappearing. A lot of musicians tried to imitate Astor Piazzolla's rigourous writing. Playing a well-written piece seems then a lot easier than just improvizing. That is actually a big mistake !
La Parrilla evolved under the influence of Jazz Music from the 30's with the big american standards we all know. Popular songs, “canciones”or instrumental tangos from the 50's and 60's, are used as a base for an improvized and advanced expression.
To build a dense, intense and original workpiece is not easy. It requires a strong knowledge of the cultural basic tools which are the tanguera expression since its origins and also a both melodical and harmonical science which allows the musician to easily play the diverse bars.
And so, a complete new world is created in which the music seems cleverly arranged. And then, exchanges are spontaneous and the effects are fully felt.
When looking at the actual tango and other musics, this concept could appear as a new one. Actually, it's come a long way, from at time when Writing and Scores were not “taken for Gospel truth...”
MP3 High Definition
Those videos were recorded at the Satellit Café in Paris on June 26th 2005