Richard Galliano
New York Tango

Some time ago, I read somewhere that the origin of the term tango is mysterious and controversial. Despite many etymological hypotheses, however, I like to think that the term derives from the Latin tangere, to touch. On one hand, because I think of the movements of tango dancers: their eyes meet, they search for each other, their bodies freely touch and embrace. Chests, faces, and arms meld together. On the other hand, because I think of the metaphorical value of the term in relation to human emotions. Tango is, indeed, a touching, emotional, melancholic, haunting music.

However, not all performers can convey its magic to the listener. Astor Piazzolla was capable of this, but he was not a simple performer; he was The Tango. Richard Galliano is, nonetheless, a worthy heir. He is a virtuoso of the bandoneon and a good composer. Furthermore, he has had the merit of continuing a tradition, while developing the interplay between tango and jazz, already initiated by Piazzolla himself along with Gerry Mulligan.

New York Tango, (Released by Dreyfus Jazz in 1996) is in my opinion, his most beautiful album. It represents a clear example of the philosophy that inspires Richard Galliano, as it arises from the 'union of different cultures and musical personalities. Bireli Lagrene, Gypsy guitarist, Al Foster, former drummer of Herbie Hancock and Miles Davis, George Mraz, Czech bassist who emigrated to the States, and the "Italian" Galliano with his inseparable "accordion". The chemistry between them is almost perfect and the dialogues between Galliano's bandoneon and the solo guitar of the virtuoso Lagrene literally give you chills. An emblematic example of this is the fifth track, Fou Rire, where the virtuosity of the two artists seems to know no bounds.