Word: piazzolla
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Dates: during 1990-1999
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...such as those from a majestic company tour of India and of an opening night performance in New York make the dancers' excitement and energy almost palpable. Fantastic productions and crisis situations seem to be all in a day's work. The film even tracks a tango-inspired ballet, "Piazzolla Caldera," from initial inspiration to final fruition. Director of photography Tom Hurwitz does a superb job of transporting the audience from intensive rehearsals to exhilarating shows...
Diamond began filming Dancemaker just as Taylor was preparing to choreograph Piazzolla Caldera, the finest dance he has made since his 1991 masterpiece, Company B. In the new piece seven men and five women pair off to perform slinky tangos with a brittle, self-conscious physicality that has the ragged edge of barely controlled violence. To watch Piazzolla Caldera evolve from dancer Francie Huber's first tentative steps in the studio to the electrifying New York City premiere last March is a delicious act of artistic voyeurism...
...side of the road and, if he's lucky, at home in Boston's suburbs, where he lives with his wife and two children. During a rehearsal last December with tango musicians in a New York City nightclub (he was touring in support of his album of Astor Piazzolla compositions, Soul of the Tango), Ma cracked, "The faster we play, the faster we can have dinner." It was a joke, of course, but it probably sprang from a very real impulse: at this point in his career, fending off boredom may be Ma's greatest challenge as an artist...
From the eerie, lurching dissonance of "Tanguedia III," the first track on Tango: Zero Hour, these discs are true gems. Incidentally, Piazzolla said of Tango: Zero Hour that "[t]his is absolutely the greatest record I've made in my entire life. We gave our souls to this record." It's hard to argue: Tango: Zero Hour combines excitement and full-bodied intensity with a series of lush, mournful tunes that are as painfully beautiful as anything on vinyl...
...American Clave recordings showcase every aspect of Piazzolla's brilliance; it is hard to imagine a music lover of any sort who would not immediately fall in love with the erotic sensibility and impassioned brilliance displayed on these albums. By the time you get to the mournful "Sur: Regreso Al Amor," the last track on La Camorra, (a tune which is a perfect illustration of just how much contemporary avant-guard American artists like Tom Waits have drawn from Piazzolla's work) you will have gone on an aural journey with one of the twentieth century's true musical geniuses...