Javier Girotto e Aires Tango
Origenes

Aires Tango is an Italo-Argentinian quartet that champions a fiery fusion of jazz and tango, reminiscent of Astor Piazzolla, but pushing the boundaries towards decidedly jazzier realms.

Javier Girotto, born in Cordoba but an Italian citizen for years, plays soprano and baritone sax, plus a plethora of ethnic instruments that draw from the musical tradition of the Andean regions. He is a highly interesting instrumentalist, both from a strictly jazz perspective (he collaborates with George Garzone, Jerry Bergonzi, Enrico Rava, Antonello Salis, Rita Marcotulli) and for the dynamics of the group he founded. His companions include the emerging percussionist Michele Rabbia, known for his collaborations with Stefano Battaglia. The pianist Alessandro Gwiss serves as something of a melodic alter ego to Girotto, with the task of balancing the saxophonist's furious solo excursions with austere and poignant pianism, yet also capable of respectable accelerations. Completing the quartet is Marco Siniscalco, whose deep and mood-driven voice on the electric bass ensures there’s no longing for a double bass in the lineup.

And "Homenaje a Astor" is the title of the first track, with Girotto introducing it on the baritone sax. It’s impossible not to mention the album "Summit," a collaboration between the great bandoneonist and Gerry Mulligan. The initial and final recording of Piazzolla’s voice is touching: "My name is Astor Piazzolla, I was born in Argentina, I was raised in New York and my parents were from Trani, Italia. Vi Saluto".

The album’s tracklist is cleverly arranged, alternating pieces played with the full ensemble with moments of total solitude, where each musician can showcase their instrumental skill. "Interludio n.1" by Gwis, leads into "El viaje," one of the most beautiful tracks on the album, taking us by the hand on the wings of a delicate piano arpeggio. "Interludio n.3" features Marco Siniscalco’s dark and mysterious fretless bass, while the other two interludes are all for Girotto, who almost "screams" into his soprano sax, pushing his instrument to the limits of its extension (and beyond): "Interludio n.4 (Kilombo)" is angry, almost free jazz.

Girotto is an absolute must-listen in his heartrending solos, such as in the final part of "Passione in fuga," while Gwis’ solo in "Malvinas" is of great delicacy. I am a big fan of Aires Tango, and I do not hesitate to say that I find Girotto’s compositions splendid, possessing as much arrogance and brashness in the faster moments as they do desperate languor in the more delicate and introspective ones. Setting aside the great instrumental skill of the four, it is the control of dynamics, the ability to transition from pianissimo to fortissimo seamlessly that is most surprising - a Piazzollian legacy, perhaps.

But the quartet does not wish to remain fossilized in the shadow of the great master and decides to venture down other paths, as in "Zamba Para Un Amigo," with Girotto returning to the baritone, where the evocative voice of friend Natalio Mangalavite brings to mind Nana Vasconcelos' collaborations within the Pat Metheny Group. A subtle use of electronics peeks through here and there, adding a touch of psychedelia to Girotto's solo moment in "Mi Viejo".

The cherry on top is Peppe Servillo’s vocal contribution in "Novedad," a virile anthem tinged with bittersweet sadness and resignation.

The album reviewed is from 2001. During their fifteen-year career, the group has recorded several works, all very good, with plenty to choose from. If you can find those published by "Il Manifesto," you’ll take home some excellent music for 8-10 euros. These days, not a detail to overlook...