A representative of probably the most legendary family in jazz has his own little Argentine heart and will come and make it beat in Buenos Aires: Delfeayo Marsalis will perform together with the Tango Jazz Quartet at the Bebop Club on 12 and 13 May
Tickets are already available on www.bebopclub.com.ar
It is very common in rock for Argentinean audiences to adopt bands from the northern hemisphere as their own or local. You will never know if this type of relationship stems from emotional sincerity, thanks to the sensational ticket sales or the trite “We love you Argentina, you are the best of the world”. The truth is that it is much less common to find artists from other countries who get involved in our music.
In the plan of these interesting rarities appears this project which unites the New Orleans musician, producer and educator with the group created by saxophonist and clarinetist Gustavo Firmenichwho defines the idea: “the project is the product of the desire to play Argentine music with non-traditional instruments, enriching it with jazz improvisation that has allowed us to find a way to approach our music in an unusual way”.
The relationship with the Tango Jazz Quartet
Firmenich says he first met Marsalis in New Orleans. While the trombonist developed his set in the legendary Snug Harbor and the Argentine group enjoyed the performance, the American invited the public to attend the following day to see them in that same room and He doubled down by inviting them on stage right there. According to Firmenich the chemistry was instantaneous.
The Tango Jazz Quartet has toured nearly thirty tours around the world, including exotic locations such as Hong Kong or Siberia.
Before a new European tour, Firmenich tries to explain the tango phenomenon in countries with distant cultures: “I don’t think tango needs to be ‘translated’ through jazz instruments, it seems to me that the most interesting or genuine thing to play anywhere (in our country or abroad) is that the group’s proposal identifies us, that we are moved by what we generate on stage, which allows us to show our feelings through our repertoire. Tango is appreciated all over the world and I think that the more genuine the proposal, the more doors will open”.
He continues reflectively: “With the Tango Jazz Quartet we are lucky for everything we have experienced, the possibility of bringing our tango from New York to a music club in a disadvantaged neighborhood of Johannesburg, to a milonga in Siberia, to a theater in China or at a concert with a symphony orchestra in Europe, everything is a cause for joy and pride.
When last year the Buenos Aires Legislature highlighted us for our work as ambassadors of the tango, it was the closing of a stage, not only are we appreciated in the world, now we receive that value also in our country”.
The interview with Delfeayo
From New Orleans, Delfeayo Marsalis also has something to say about this fruitful artistic team. Elegant and willing, she agrees to chat with him clarion.
“I am very happy to go there -he assures- and it will be my first time there. More than anything, I am happy to meet people and also to play with this group of great musicians. I think tango is fantastic, not just to be a dance that represents people, but also for the music itself that accompanies this dance. We will have a lot of fun playing it!”
-You met the Tango Jazz Quartet in New Orleans, but what initially attracted you to tango in general?
-I’m a big fan of the city’s dance and music. Tango represents both ideas and is a wonderful form of expression. In New Orleans we have the “Second Line” which are bands that accompany funerals. The winds blow, people dance and jump, it’s our way of celebrating. I think tango is that expression, but in Buenos Aires and I love being a part of it.
-Besides that, what do you think jazz and tango have in common musically?
-Both genres are interesting and fun. Without a doubt I would say the rhythmic aspect; there are many rhythmic effects in both styles. Duke Ellington has recorded three tangos! Rhythm is always important in dance music and I hope we will also have room for some improvisations that create new melodies and ideas.
a famous surname
-How has being a Marsalis affected your career: did it make things easier for you or did it work as an added pressure?
-I would definitely say it was a plus to work with my siblings at such a young age. Starting to produce the work of Branford, Wynton and also my father, who have been a huge influence on me, but also a source of inspiration. From that starting point I would say it was something totally positive.
It didn’t really work as a pressure factor beyond the rivalry we have as brothers. I like to do my job and send them a copy saying, “This is what I have, what do you have?”
-You have dedicated your whole life to education. Is participating in projects like this a way to increase one’s knowledge?
-Completely. In fact, every new situation requires you to learn and step out of your comfort zone. So I’m always looking for inspiring music, new, uncharted ground for me.
-Moving to a very modern topic, how do you think artificial intelligence can influence music education?
-I don’t know much about it, but maybe we can train robots to listen to Louis Armstrong and Charlie Parker and extract the most important elements of their music and combine them with different rhythms or grooves. It could be interesting. From a manufacturer’s point of view, that could be an interesting way to use it.
A piano like “this is what Louis Armstrong would do with this music”, if that spirit, that level of joy and classic optimism of Armstrong and Parker could be expressed -although the latter has a different phrasing-. Or Thelonious Monk’s unique approach… if we could bring that to popular music, combine it with rap beats, hey, that might be good, we’ll see what happens.
Tango Jazz Quartet
According to Gustavo Firmenich, “TJQ was born from my need to play the music of my country, but as a saxophonist and clarinetist I had always played in jazz formations. In fact, the first steps of the project were with the members of my group Jazz 4 quartet, with who plays swing”.
And he adds: “From that idea/need we began to try with the quartet how to adapt tango songs to an unusual sound (saxophone-clarinet, drums, bass and guitar at the beginning and then piano until today), but adding the concept of improvisation, which tango had in its origins and then became variations of the bandoneon”.
-How was your first contact with Delfeayo and what does it mean for you to play with him?
-We were touring the US, and due to scheduling issues we got to New Orleans a day before our show, and Delfeayo was playing with his band at Snug Harbor. We didn’t hesitate for a second to go see him, and it turns out that in the middle of the concert Delfeayo started inviting the audience to come the next day and listen to us (we are a group with a long history, we have a new artistic proposal, etc. .).
Halfway through the promotion he says: But if they’re here, why don’t they come and play with us so the audience can hear them?’ Both the bassist and I didn’t have our own instruments, so the pianist and drummer came up. It was a party. The audience loved it and we chatted with Delfeayo after the concert, thanking him for his generosity and so on.
For us to be able to play with him again is a great opportunity to share our artistic proposition, an enjoyment of his musical quality and a joy that this is happening in our country. We live doing very interesting concerts with various musicians all over the world and we rarely do it for our own people.
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Source: Clarin
