Pedro Giraudo - Vigor Tanguero (ZOHO MUSIC April 6, 2018)

Vigor Tanguero is the first tango CD for bassist, bandleader, and composer Pedro Giraudo. After releasing five remarkable albums performed by various formats of jazz ensembles, his gaze was captured by the glint of tango. Perhaps it was only matter of time, as Giraudo hails from the birthplace of tango, Argentina, and so this album is a homecoming of sorts. A man revisiting the music of his country and culture, contributing not something homespun but tantalizing and suggestive.

“I enjoyed every second of the process,” said Giraudo, who seems capable of scaling any musical summit. He wrote these pieces for the brilliant quartet of Nick Danielson (violin), Rodolfo Zanetti (bandoneón), Emilio Teubal (piano), and himself (bass). And by so doing, he realized that his works were in fact rooted in the best of the tango tradition. Each selection can be categorized and described according to one of three tango rhythms: milongas, valses, and tangos.

Of course, there are some exceptions, but throughout you’ll hear Giraudo tinkering and experimenting with the fundamental tango rhythmic cells – pushing, pulling, even suspending the syncopated feel as he engineers a new aesthetic or archetype for this music that he loves. “I tried to express many emotions on this album: happiness, joy, passion, sadness, intimacy, vulnerability, and playfulness,” he says. No matter what this album makes you feel, it will be borne out of authenticity, as Giraudo’s genuine spirit shines through each note, beat, and breath.

The first piece Vorágine means “Whirlwind” in English, but it’s not an exact translation, as Giraudo has struggled to find a word that conveys the chaos and confusion that afflict those living in New York. “This is my anthem for the city,” he says. He constructed the piece with a straightforward ABA form, with an almost identical introduction and coda. The first section is through composed with an unstable eight-note scale that late French composer Olivier Messiaen (1908 – 1992) employed with aplomb. The subsequent section is right out of the Astor Piazzolla (1922- 1992) playbook, with obvious tonal and timbral references to the late tango grandmaster.

Entre Bambalinas translates to “Between Scenes” and is a reference to those fabric dividers on stages. The term is used colloquially to describe what happens backstage or behind closed doors. The bass elegantly presents the prelude and epilogue. Between these parts is the main ABA section that invokes a waltz meter: at times the twelve eighth notes which are placed in two measures, grouped in the unusual manner of 3-2-3-2-2. In this piece, we hear Giraudo demonstrating his prodigious compositional talent, moving the beats across the mountains of his mind.

Giraudo wrote Con Un Nudo En La Garganta or “With a knot in the throat” in 2004 for his jazz orchestra and it eventually became the middle movement of his epic and noteworthy “Desconsuelo Suite” which can be heard in its large ensemble version on his other 2018 ZOHO CD release with the WDR Big Band, “An Argentinian in New York” (ZM 201804). This piece is total tango and channels the best elements of the tradition. Hearing how brilliantly his large band performed the piece, he wanted to arrange it for his tango quartet. And you can hear for yourself – it’s an intoxicating melody with beautifully sparse and stirring chordal accompaniment.

Chicharrita or “Cicada” is an homage to Osvaldo Pugliese (1905-1995) who was a towering leader and figure in tango’s enigmatic history. As a composer, bandleader, and pianist, Pugliese had a unique style characterized by lush landscapes of sound. Yet he had a high-pitched voice which earned him the affectionate nickname of “Chicharrita.” This piece was commissioned in 2015 by Giraudo’s friend and trumpetist Hiro Noguchi, and this is ultimately Giraudo’s take on the traditional milonga that pays respect to Pugliese. It begins with a rubato introduction, which gives way to a descending and chromatic line that lingers in your hearts and stirs your soul. The comparison to the fully orchestrated version of Giraudo’s composition is again fascinating, it can also be heard on his WDR Big Band collaboration “An Argentinian in New York” mentioned above.

A Octavio Brunetti (Dedicated to Octavio Brunetti) (1975 – 2014) is a song of friendship. Both Brunetti and Giraudo were beer enthusiasts, and during one of their many tours of Japan, they came up with a ditty with the Japanese lyrics “Biru No-mou-ze,” which means “let’s have a beer!” They would play or whistle the motive (A-A-D-F#-F#) after a long day of rehearsals, as siren calls that it was time to enjoy a drink. When Giraudo embarked upon writing a piece for his dear friend Brunetti, he remembered the motive, and constructed a full tango (with the traditional ABABA form) borne of levity but bedazzled with bleaker harmonies.

Desavenencias or “Rifts” is Giraudo’s first foray into writing traditional tango waltz, as he invokes a classical minuet and trio with proficiency and skillfulness. Also commissioned by Hiro Noguchi, Giraudo adapted the piece for his tango quartet.

La Rabiosa or “The rageful woman” is just that – a piece Giraudo wrote to describe an angry lady. It’s based on a rhythm from the countryside known as the chacarera that has a particular musical and dance structure. The atonality and jarring lines convey anxiety, frenzy, and even rage, showing that music can be vehicle of every expression. Giraudo originally wrote this composition for his big band, as the 3rd movement of the Angela Suite, and it is featured on his 2015 ZOHO CD release “Cuentos” (ZM 201503).

The last three selections are meditations on extreme feelings, from total awareness, to letting go of all fears and desires. Lapidario or “Merciless” is a term that Argentinians use to describe a comment that cuts, hurts, and is harsh. Giraudo juxtaposes two themes, one which is forceful, built upon certain triads, whereas the other is more melancholy and thematic in nature. Taken together, these themes represent two sides of an argument, or rather, the syncopation at the heart of the tango. 

Desapego or “Detachment” is a non-obvious penultimate piece. You almost expect a tango album to end with adventure and escapade, yet Giraudo renders his selection with a vals that draws upon folkloric influences and casts a broad emotional range, only to end with a feeling of non-closure. You are left wanting, but that’s the point, to detach from the desire of resolution, and to realize that life is an ellipsis…and we can’t always fill in the blanks.

The album ends with A Campo Abierto or “In the open field,” a searing and emotive composition that also incorporates folkloric traditions. Giraudo employs the rhythm of vidala or vidalita which treats space and silence as a central element. It’s a poignant ending to a very personal album, one on which we hear what happens when a tango master looks into the mirror and gives every bit of himself. 

--Kabir Sehgal

Multi-Grammy & Latin Grammy Award Winner New York Times bestselling author

1. Vorágine (Milonga) 3:38 Dedicated to Alberto and Susana

2. Entre Bambalinas (Vals) 4:31

3. Con Un Nudo En La Garganta (Tango) 4:47 Dedicated to Florencia Molina Boero

4. Chicharrita (Milonga) 2:53

5. A Octavio Brunetti (Tango) 5:06

6. Desavenencias (Vals) 2:46

7. La Rabiosa (Chacarera) 4:56 Dedicated to Jean Floyd

8. Lapidario (Tango) 4:30

Nick Danielson violin

Rodolfo Zanetti bandoneón

Emilio Teubal piano

Pedro Giraudo bass

All compositions and arrangements by Pedro Giraudo

Recorded at 2nd Story Sound, New York on August 7-8, 2017. Recording and mixing engineer: Alex Venguer. Mastering engineer: Oscar Zambrano - Zampol Productions. Producers: Kabir Sehgal, Kenya Autie, Alex Venguer. Liner Notes: Kabir Sehgal. Photos: Federico Rodriguez (cover), Erin O’Brien (group photo). Painting, “Cartas de amor” (Love letters), by Daniela Aphalo. Art direction and package design: Al Gold. Executive producer: Joachim “Jochen” Becker.

Pedro Giraudo & The WDR Big Band - An Argentinian in New York (ZOHO MUSIC April 6, 2018)

On November 29, 2016, the WDR Big Band performed a program of six of my compositions to a packed house at the WDR Funkhaus in Köln. Here I was, an Argentinean who had come to New York 20 years prior, conducting one of the great big bands in the world - in Germany!

The band was on fire from the instant the concert began. Unlike those occasions when I perform with my own big band in New York, when I not only conduct, but also play the bass, for this performance my sole role was conducting, giving me the opportunity to connect in a more concentrated manner with the music that was coming out of the band, without having to focus on my bass playing as well. It was an exhilarating experience and I think the resulting performance, as you will hear on this recording, reflects that.

The pieces on this recording are in the order they were performed at the concert.

Mentiras Piadosas (“White Lies”): A friend who is a psychologist mentioned that it is impossible to be a functioning member of society without sometimes lying. Initially, I found the statement shocking, but I thought about it and realized it's true: one does alter statements on a regular basis so as not to offend people, among other good reasons. The idea of twisting things around to fit certain situations is an important aspect of this composition, which features a recurring theme that continues to change its way throughout the piece. (Commissioned by Hiro Noguchi.)

Chicharrita (“Cicada”): Osvaldo Pugliese (1905–1995) was for decades one of the most important figures in the history of tango. As composer, bandleader and pianist, his unique style was characterized by a deep, rich, lush sound. Ironically, in spite of this characteristic, his voice was very high pitched, which earned him the affectionate nickname of "Chicharrita". This is my humble and respectfully playful tribute to him. (Commissioned by Hiro Noguchi.)

La Ley Primera (“The First Law”): This piece is inspired by the famous long poem "Martin Fierro" by José Hernández (1834 –1886), and Argentinean children grow up familiar with many quotes from it. One of my favorites is “Los hermanos sean unidos, porque esa es la ley primera, y si entre ellos se pelean, los devoran los de afuera” (“Brothers should be united, because that’s the most important law, and if they argue, they will be devoured by outsiders”). This is one of the simplest tunes I have written in a long time; it's based on the Argentine rhythm and form of the zamba, almost unaltered, and features mainly one voice: Johan Hörlén on alto sax.

Lapidario (“Merciless”): In Spanish, lapidario is an adjective that we Argentineans often use idiomatically to describe a comment that is merciless, cutting, and hurtful. This piece has two contrasting themes, one very aggressive based on the imposition of different major and minor triads; the other more melodic and nostalgic, each reflecting the different aspects of the lapidario comment.

Eir: The struggles that women have to deal with on a daily basis because of inequality and a society based on patriarchy are gradually coming to the forefront of our consciousness, not only to women but to men. After reading a heartfelt and painful statement by Shannon Barnet, the WDR Big Band trombonist, about her many struggles as a woman in the male dominated jazz world, I decided to write a piece to feature her that depicted women as resilient and silent fighters. After some research about female warriors, I found Eir, the medieval Norwegian Valkyrie of peace and clemency. This piece is devoted to these ideals.

Desconsuelo Suite (“Disconsolation Suite”)
Written in 2006, this is still one of my favorite compositions. Like most of us, I went through moments in life where no consolation can be found and the only solution is acknowledging the pain and dealing with it. The suite is comprised of three movements and an introduction, following the classical concerto fast-slow-fast structure:

I : Preludio de Bombo Legüero
During the rehearsals prior to the concert the idea came up of featuring the wonderful Bodek Janke playing an ad libitum introduction to the suite on the iconic Argentine drum, the bombo legüero, to set up the correct mood. He certainly did!

II : Mate Amargo (“Bitter mate tea”)
Mate is a tea typically drunk out of a dried gourd with a metal straw (bombilla) in the southern part of South America. It is a stimulant, similar to coffee, and very bitter when had without sweeteners, which is exactly what Mate Amargo means: unsweetened (or literally "bitter" mate). This movement is based on the folkloric rhythm of chacarera, a Spanish-influenced Argentine style written in 6/8 which constantly superimposes the feel of 6/8, 3/4 and 2/4 meters.

III: Con Un Nudo En La Garganta (“With a knot in the throat”): Just as the expression connotes the inability to express something adequately, this piece tries to convey what words cannot. Out of all my compositions for big band, this is unquestionably the one that, both in spirit and in style, is closest to tango, the distinctive urban sound of the Rio de la Plata.

IV: La Bronca (“The rage”): The closing movement is a forceful and propelling piece written in 11/8 which features challenging lines for the saxophones. For one of the recurring sections I used and expanded a fragment of a harmonic progression found in the Lacrimosa section of Mozart’s Requiem. Contrastingly, the solo section is mostly in a simple blues form. – Pedro Giraudo

An Argentinian in New York is ultimately about a man, a maestro’s search for meaning in his adopted home. Hailing from Cordoba, Argentina, Pedro Giraudo is a celebrated and virtuoso bassist, bandleader, composer, and arranger who is a veritable creative genius. 

His musical career reads like an all-star lineup, as he’s performed or recorded with the likes of Ruben Blades, Paquito D’Rivera, Pablo Ziegler, Regina Carter, Branford Marsalis, among others. His discography as a band leader is equally as impressive, having released five albums that are all critically acclaimed. On the ZOHO label, they include “Cordoba” (ZM 201106, Downbeat **** 4 stars), “Cuentos” (ZM 201503, Downbeat *** 4 stars), and the upcoming “Vigor Tanguero” (ZM 201803), simultaneously released with “An Argentinian in New York”. 

Moreover, Giraudo leads three bands: a big band, jazz orchestra, and sextet. No doubt, he is prolific, but not at the expense of quality, as he crafts his compositions with painstaking detail and renders his big band harmonies with sophistication akin to the great Duke Ellington. His music both honors long-held traditions while also advancing a new sound that fuses his sparkling ideas with the remarkable musicians found in New York. Those in the music world know, when Pedro calls, the grandmaster is on the line. 

On this album, Giraudo observes, describes, and explains New York through a colorful and multi-hued musical prism. For those new to the Big Apple, as well as lifelong residents, you will hear something new, fresh, even provocative in these seminal pieces. That’s because Giraudo imbues his music with both personal and profound meditations on the meaning of home. 

He realizes and furthers the notion that blending is beautiful, mixing is magnificent. Indeed, this album could have very well been titled “Melting Pot,” invoking that vivid American metaphor, as Giraudo explores his native Argentina (for example, “Chicharrita” an homage to tango master Osvaldo Pugliese) with subtle references and overt rhythms, juxtaposing it with the musical modernity of American urban living (for instance, “Eir,” which draws attention to the struggle of women not just in the jazz world but across most sectors and industries). Giraudo has something to say. And this production is a personal testimony on the challenges and opportunities of our time. 

Six of Giraudo’s brilliant compositions are brought to life with the spectacular performance of the WDR Big Band. Like a well-oiled machine, these musicians hit each note with precision, and the respective brass and reed sections fall into place like pennies finding their slots. Here you have a bandleader operating at the top of his game, paired with arguably the best big band today. 

This isn’t just a recipe for success. It’s a staging for a musical triumph that thankfully you can listen to again and again. -- Kabir Sehgal

Kabir Sehgal is a multi-Grammy & Latin Grammy Award Winning producer and New York Times bestselling author.

1. Mentiras Piadosas 8:10

2. Chicharrita 6:38

3. La Ley Primera 5:33

4. Lapidario 9:02

5. Eir 6:41

Desconsuelo Suite

6. I - Preludio de Bombo Legüero 1:19

7. II - Mate Amargo 4:31

8. III - Con Un Nudo En La Garganta 6:21

9. IV - La Bronca 7:00

Pedro Giraudo : conductor, composer, arranger

The WDR Big Band

All compositions composed and arranged by Pedro Giraudo

Publisher: Pedro Giraudo Music, BMI

Recorded live on November 29, 2016 at the Klaus von Bismark Saal in Cologne, Germany. Producers: Pedro Giraudo, Kabir Sehgal, Kenya Autie. Production coordination: Lucas Schmid. Art Direction and Package Design: Jack Frisch. Liner Notes: Kabir Sehgal. Executive Producer: Joachim “Jochen” Becker. A Westdeutscher Rundfunk Cologne Production, 2017. Licensed by WDR mediagroup GmbH.