Richard Galliano Septet
Piazzolla Forever

Thinking back to the music contained in this album, a river of adjectives flows through my mind: thrilling, passionate, impetuous, gripping, extraordinary, intense, engaging, heart-wrenching.
In one word, splendid.

As can be seen from the horrible (the only negative adjective) title, the latest album by Richard Galliano, recently released by Dreyfus Jazz, represents a tribute to Astor Piazzolla, the embodiment of Argentine tango.
It is not the first one made in recent years. I recall, as an example, "Hommage à Piazzolla" by the violinist Gidon Kremer (Nonesuch 1996) and "Mi Buenos Aires Querido" by pianist Daniel Barenboim (Elektra/Asylum 1996), both beautiful.
But this work by Galliano is, in my opinion, more significant. The reasons are varied. First and foremost the fact that Galliano, like Piazzolla, plays the bandoneon and is to be considered his artistic heir. Secondly, the representation of the ensemble often used by the Argentine musician, with a string quartet, double bass, piano, and naturally bandoneon. Finally, the selection of the pieces, among the most beautiful by Piazzolla. Ten in total, plus "Laura ed Astor" by Galliano, a tribute within the tribute.

Recorded live on August 29, 2002, at the Willisau Jazz Festival in Switzerland, the album opens intensely with "Otoño Porteño". Just over five minutes of music characterized by the alternation of impetuous and languid melodies, governed by Galliano's bandoneon and Jean Marc Phillips-Varjabédian's violin. The tango immediately enters the mind, capturing the listener in a whirlwind of emotions.
But it's only the beginning. "Invierno porteño" follows, forcing the listener to close their eyes, so as to fully capture its lyricism, which reaches its highest peaks in the finale when the strings, accompanied by the piano, close the development of the theme with a very delicate pizzicato that recalls the sound of a music box. Divine. The audience applauds, astonished by the emotion.
The following passage, "Sur: Regreso al amor", seems like a story in notes. A broad introduction, led by the solo violin, hints at the main theme, which arrives slowly, painfully after a couple of minutes. The bandoneon takes center stage. The skin shivers. And you feel like shouting the words, not present, by Fernando E. Solanas: Vuelvo al Sur, como se vuelve siempre al amor, vuelvo a vos, con mi deseo, con mi temor. Once again, the audience's applause reveals palpable emotion.

The listening continues without pause, facilitated by the frenetic pace of "Concerto pour bandoneon et orchestre: Aconcagua", which stirs the audience so far petrified by the emotions stirred by the ensemble's interpretations. But it's only a moment, because the next piece, "Milonga del angel", brings everyone back to yet another painful setting.
At this point, even if you wanted to, it's no longer possible to stop the album. "Michelangelo 70" is charged with a force that becomes the natural prelude to one of the most exciting moments of the album: "Improvisation sur le théme Libertango". Piazzolla's most famous theme is literally dissected by Galliano's technical virtuosity, who on this occasion performs solo, bringing the audience to a true ovation.
After the interlocutory "Laura ed Astor", it's the turn of "Escualo" as overwhelming as its inspiring source.

If autumn and winter open the album, "Verano porteño" and "Primavera porteña" represent its epilogue, once again full of vitality, rhythm, and an energy worthy of a cyclone. I see the audience on their feet. Applause. Repeat.