What is tango nuevo?
Translated and reproduced by Alberto Paz in July 2012
I have noticed that when most people talk about the nuevo tango, they’re actually referring to electronic tango. Even when people talk about “dancing” tango nuevo, they mean dancing a very open style wearing baggy pants, designer clothing. A style that is more rhythmic than melodic, more attractive than sensible, using electronic music or other rhythms that hardly qualified as tango .
I base these views, looking particularly at different practicas, and some milongas, where they teach new dance styles that have been flourishing in recent years.
Although I confess that I like and I dance several song by Gotan Project, and some of Narcotango, I must admit that for most people, electronic tango, is quite non-danceable.
On the other hand it is curious how the people who dance the invented “new tango” style can not blend in other styles of the tango dance, while the other styles though reluctant, mix, live and grow daily in the milongas.
I have already spoken in another note about styles, and I remarked that it is always good to be flexible when you dance with someone who doesn’t dance your same style. But I notice that there is no style more complicated, disconnected and individualistic both physically and musically, than the so called “new tango”. Perhaps this emergence of a new dance is based much more on being seen as cutting-edge, alternative and fashionable than being sensitive or musical. I’m sure that when these boys and girls who dance the nuevo tango get to be in their fifties, they will embrace the more traditional and communicative dance.
But back to the music … what is the Tango Nuevo? In my opinion it does exist, it is growing and it is being created by musicians who compose their own tangos, by others who invent their own style, or put in a distinctive feel to their sound and to classic tangos, without falling for synthesizers, beats , samplers and machines that play recorded sounds.
By contrast, the electronic tango has been around for several years since its inception, and is something that does not evolve, nor does it bring anything new within its style, and everything seems to show a behavior that is more commercial than artistic.
My criticism is not based on whether the electronic music must qualify or not as tango, but in that it is used as a banner to claim “this” is the new tango, when the new tango is much, much more wider, and thankfully, much, much richer than the electronic version.
I would like to start hearing about a “tango nuevo” concept as something that grows and evolves from the traditional tango, and not like other styles that take advantage of the sound of the bandoneon to continue selling something that already exists.
Perhaps many musicians who already were making electronic music, today choose the tango as a basis for experimentation so they can make free and rare versions to sell a semi-new product.
The tango has always been and will be a bit painful, rough, sensitive and passionate, because that is its essence. The purpose of this note is not to criticize or say that something is or is not.
What I seek is to point out that there are some great musicians playing and creating their own music, composing, arranging and creating variations with much talent, sensitivity and intelligence, keeping the true essence of tango even adding new things, and that’s what we should highlight and proudly name as “Tango Nuevo”
The electronic tango may be liked by many people, but if we must talk about quality and great changes, please let’s go back to Piazzolla and from there to the new fine musicians who are composing, growing and those who are being born today. That’s why in this note I dare to recommend some albums of “Tango Nuevo”, which are well above the electronics, which are played without the need to connect synthesizers, computers or gizmos:
The names of the albums I recommend are between brackets :
Julio Pane Trio: (A las orchestras) In this outstanding album, the trio plays and sounds like an orchestra. Pane has influences from the greats, but with his own texture and style. A luxury.Richard Galliano (French touch) Great French Accordionist plays tango with Piazzollean influences bringing a new style with French airs of his instrument.
Orquesta Tipica Fernandez Fierro: (Envasado en Origen y Destrucción Masiva) Original and classic Tangos by a traditional orchestra with that has its own sound, strong, violent, passionate and very current. Really excellent.
Walter Hidalgo: (Tanguetnia) A genial kid … He plays the bandoneon, composes and sings!.
Angel Pulice and Ruth Divicenci: (La Carnada y Tangos nuevos y usados) A beautiful combo. Guitars, Vocals and accordion. Great lyrics, great sensitivity and good taste.
La Chicana: (Ayer Hoy Era Mañana y Tango agazapado) band that has a fresh spirit between rocker, folk and tango.
Astillero: (Tango de Astillero) A rough Tango Orchestra, with lots of force, cruelty and violence in their sound.
El Afronte: (Tango al palo) Orchestra with traditional instruments, but a lot of power.
Buenos Aires Negro: (Turra Vida) A tango band mixed with sounds of Buenos Aires rock and murga. Strange, dark, perhaps far from tango, it has the air of a dirty slum.
El Terceto : (tocatangó) Excellent trio with their own sound, difficult to classify. Mixing jazz, tango and folklore.
Cáceres: (tocatangó) own and others’ compositions, Excellent lyrics, resurrects the black origins of tango and milonga. Sounds like candombe, murga and milonga. Creates a strange phenomenon in the milonga.
Dema y su Orquesta Petitera: (Volumen 1) trio of two guitars and voice. Own compositions, with slang and humor.
And finally, I will not leave out without mentioning one of the greatest exponents of the Tango Nuevo.
Astor Piazzolla” (Suite Troileana, y Mundial 78´)
And I sign off paraphrasing the great Anibal Troilo, “Pichuco” who was asked once if there was a need for new tangos. He replied: There are no old tangos or young tangos… What we have is good tangos or bad tangos.
Note written by Manuel Gonzalez – El Amague Blog
Published in the journal Punto Tango No. 37 – November 2009.