BY SAMUEL COTTELL
Jay Byrnes’ ‘El Asunto del Tango’ (Tango Affair), 2015
Featuring Jay Byrnes (soprano, alto, tenor, baritone saxophones), Daniel Rojas (piano), Michael Klueger (accordion), Carmen Nieves (alto saxophone), Isabella Brown (double bass)
The great thing about tango music, in my opinion, is that it speaks to everyone.
The first thing that I read in the cover jacket of this CD was a quote by Naomi Hotta: ‘Warning: Tango contains highly addictive ingredients, such as pain, pleasure, freedom, torment and bliss. In seven out of ten cases it takes over a person’s life’.
This album offers the listener an essential history of the tango: where it has come from, where it went and where it is going, including a world premiere and two Australian premieres. The liner notes also provide a detailed history of tango and inform us that it is one of the only dance music forms that does not include drums or percussion! Now, add to that mix Jay Byrnes, who is a Sydney-based saxophonist, arranger, and music educator (and, after examining the depth of this recording, you can also conclude that is he one of Australia’s foremost authorities on tango), and the ride that this recording is going to take you on is an exciting one indeed.
The album opens with a stunning rendition of ‘Niebla y Cemento’ (Fog and Cement) by Herrerias. Arranged for alto saxophone and piano, this performance saw Jay and pianist Daniel Rojas engage in a high degree of musical interplay. This piece is a study in rhythmic virtuosity and the subtle nuances of shading in tango. Daniel has a ‘zest la viva’ approach to playing – hard-hitting the bass creates a thunderous dramatic effect for the lower piano. In contrast, he tenderly caresses and draws lush harmony from the mid-section of the piano. Add to that his steely finger work and deeply considered approach to this music (his heartbeat is clearly a montuno) and you have one of Australia’s finest pianists on display.
Jay’s agile approach to the delicate melody and fiery zest saw every bit of colour there is projected from the alto saxophone, the dark hues of the bottom register to the brilliant, shiny notes of the upper. His approach to the rhythmic aspects of this piece provided light and shade as each note had an individual inflection that heightens the drama. Mix this with their unbridled passion for this music and you have a strong opening track that sets the standard for the remainder of the album.
Following this is an original composition by Daniel, ‘Llevame’ (Take Me Away). This piece was originally written as a song, and Jay here picks up the tenor saxophone, an instrument that has an affinity for jazz and is perfect for this piece, considering the jazz territory that it often explores (the use of modes and extended chords, such as #11s). Jay is equally as good on the tenor as his on his primary instrument of choice, the baritone saxophone. The subtle interjections from Michael Klueger on the accordion are a tasty addition to the arrangement of this piece.
The centrepiece of this album is ‘La Cumparsita’, arranged for solo alto saxophone by Jay. This is the oldest tango on the recording dated 1919, and so it delves the furthest back into the history than any of the other tracks. This particular arrangement was inspired by Vincente Zito’s virtuosic cadenza for solo violin, originally performed by Ruggiero Ricci. Jay’s adaptation is a study in contrasts and exploration of colours. The extended techniques used here open up an exhilarating sound world on the saxophone that pops, clicks, slides and wails and trills. In Jay’s hands, the alto saxophone becomes a full ensemble unto itself, exploring the highest of highs and lowest of lows.
Perhaps the most famous of all tangos is Astor Piazzollas’ ‘Libertango’. The linter notes tell me that Piazzolla wrote this music in 1974 and it marked the break from classical tango to Tango Nuevo. I think this dynamic group has broken another mould here and certainly made this arrangement (by Jay and Carmen Nieves) a unique one (that’s the great thing about ‘Libertango’, you can make it your own). The piece is set up by a piano solo that has an improvisatory flair and feel by Daniel. The bass then enters, Isabella Brown’s approach to each note demonstrates her deep understanding of this style of music and her sound and passion equally match the other musicians. Michael Klueger’s accordion is the perfect match the sound of the saxophones as he weaves from the melody to accompaniment, finding moments to add colour and then retreat allowing the melody to unfold. This arrangement sees Jay Byrnes soaring to heights on the soprano saxophone creating an other worldly atmosphere to this piece. Carmen weaves in out of the lines on alto with a marvellous alto saxophone sound, her delicate playing and considered nuances of line is something to savour.
The first thing that grabbed me about this CD was the artwork. A beautifully rendered water colour of San Telmo Buenos Aires, Argentina by Federico Arcangeli. The image depicts two dancers engaged in a tango at the front of a café setting. The vibrant hues of the watercolour add to the excitement of what might be contained on the CD itself and I found myself exploring the packaging for a longer time than usual. Recorded in a large hall at Sydney Conservatorium of Music allows the richness of all the colours to fully present themselves on a large scale canvas, yet at the same time the superb mixing and mastering by David Kim-Boyle captures the musicians in such a way that it sounds like they are playing directly into your ear in a very intimate setting.
This is an album of pure honesty, unbridled passion and love for not just tango music, but all music. It’s a personal exploration and journey with tango that is evidently the closet to Jay and his fellow musicians’ hearts. Simply sensational.
Digital copies can be purchased online, but I highly recommend you get the hard copy of this CD for the beautiful artwork and extensive liner notes. You can purchase hard copies from Jay Byrnes’ website: http://jaybyrnessax.com
