Raul Jaurena CD Review for Fuerza Milonguera: Date November 9, 2010
Raul Jaurena, ‘master of the tango’, has put out one of our favorite albums this week: Fuerza Milonguera [Soundbrush Records]. A native of Montevideo, Uruguay, and current resident of New York, Jaurena makes the traditional sounds of the tango he was brought up with — he’s played since age eight – sound their most haunting, bewitching and memorable, adding elements of influence Astor Piazzolla’s ‘tango nuevo’ to create a lively and modern take on the music of the bandoneon. Getting his practice in various tango ensembles throughout 1960′s/’70′s Uruguay, Brazil, Chile, Ecuador and Venezuela, Jaurena has gone on to compose for the Irene Hultman Dance Company in New York and to be nominated for, and win, Grammys in both the United States and South America. His latest release is a lively and heartfelt combined effort of the talented bandoneones, Juarena, Miguel Trillo, Jose Lagreca and Nario Recoba, with piano, violin, viola, cello, bass and guitar flourishes added throughout. Listen to two tracks from Fuerza Milonguera, above.
Review: ‘Tango on the Terrace’ by: Jeanne Claire van Ryzin | Sunday, June 21, 2009
Tango set a sophisticated tone for Austin Chamber Music Center’s kick-off concert Friday night for its annual summer festival.
Beautifully played by a five-piece ensemble led by ACMC artistic director Michelle Schumann and featuring Grammy-winning bandoneonist Raul Jaurena, the virtuoustic hour-long program of Astor Piazzolla’s urbane and expressive nuevo tango exemplified the smart, forward-thinking turn this chamber festival has taken since Schumann took the helm.
Regarded as one of the world’s most prominent bandoneonists — and a musician who can claim a direct link to Piazzolla before the great composer’s death in 1992 — Jaurena’s masterful playing exemplified tango’s schizophrenic tones and moods. Nervous and edgy, lusty and full-bodied, mournful and nostalgic — Jaurena wrested it out of an instrument that has one the most compellingly unique voices.
Schumann and the ensemble — Korine Fujiwara on violin, Russ Scanlon on electric guitar and Chris Maresh on bass — made spotless work of Piazzolla’s charging rhythms, twisting harmonies and jumpy use of counterpoint. In tango, every instrument can be used as percussion, with string players not just using pizzacato plucking, but making the distinctive ‘chicharra’ sound produced from scraping the strings. Those are tricky techniques that can sound inauthentic in some hands, but both Fujiwara and Maresh pulled it off with aplomb.
Jaurena and the ensemble poured a breathtaking level of energy and passion into the seamless program and that energy flowed off the stage. The audience — a packed house in the intimate auditorium of the Lady Bird Johnson Wildflower Center — began the rousing cheers about half-way into the concert that were soon joined by ovations.
Media Alert: Roger Davidson/ Raul Jaurena album - Pasion por la Vida - Soundbrush Date April 7, 2009
By Woodrow Wilkins
To the untrained ear, it sounds like an accordion. And to be fair, there are similarities. However, the bandoneon is its own instrument, and it is part of what makes Tango Duo's Pasion Por La Vida an interesting and unique album.
Pianist Roger Davidson and Latin Grammy Award-winner/bandoneonist Raul Jaurena come together for a solid collection of original tango music. Davidson has recorded two previous tango albums, but this is his first with all-new music. Jaurena has worked closely with Davidson for 15 years and is one of the world's most prolific bandoneon players.
“Fuerza Milonguera” sets the mood for dancing right off. Starting in a march, it quickly becomes more of a strut. Jaurena moves seamlessly from accompanist to half of a duet, shifting back and forth from sharing the lead to complementing the piano. Each takes turns as soloist while the other maintains the rhythm.
“Camino al Sol” begins with a leisurely piano introduction. Then Jaurena brings in a bouncy lead before fading into the background while Davidson comes to the fore. As with many of the songs, this selection plays as though the musicians were tangoing with each other while providing music for others to dance to. Near the end, the music calms and slows to a near stop before Jaur ena brings back the melody, setting up a triumphant finish.
“Todo el Tiempo” begins in a melancholy mood but that changes quickly as the tempo picks up. At times, the melody is reminiscent of a love story theme. Davidson and Jaurena increase the passion as this song builds to its climax.
The tango is a couple's dance, so it's fitting that this 18-song set is performed by a duet. The piano and bandoneon dance with each other throughout, each taking turns as leads.
"I LOVE TANGO: THE BEST KEPT SECRET IN TOWN"
Woodside Herald Feb 18, 2006 BY: Miguel Falquez-Certain
"To begin with, this is the first time we have the opportunity to listen to Mr. Jaurena’s outstanding musical output, and exceptional it is. A master of the bandoneón (concertina), a unique instrument associated with tangos and milongas".
Lazz Review CD Title: Te Amo Tango Year: 2006
Raul Jaurena, the Uruguayan king of tango, is regarded as one of the most prominent bandoneonist in the U.S. I can say that, having never been exposed to his rich and articulate style, I was more than a little impressed with his handling of this utterly romantic dance music. When we think “tango,” most of us envision a couple proudly striding in tempo across a dance floor with sturdy, deliberate steps, heads thrown back in a moment filled with a hint of arrogance and pomp, clutching outstretched hands---and maybe displaying a rose between the teeth for dramatic effect. Well, Raul Jaurena may conjure up that much-accepted image, but he brings something much more to Te Amo Tango. Accompanied by expressive and sometimes anxious violins and lusty, robust vocals filled to the brim with all of the sexiness that Latin music brings, something inexplicably rich and mesmerizing happens here. “A Mancuso,” “Tatoneando” (with its mood swings), and “La Cumparsita” come to mind as a few of the more punctuating pieces, although the entire album is unmistakably tango. Te Amo Tango is an album that I would think one has to take very seriously if you know anything at all about the tango culture. Be not afraid to sample this, if for no more reason than to open that one portal in your mind that leads to lands unexplored. Oh, no doubt that this may catch smooth jazzers by surprise, but, sometimes, certain “left turns” wind up landing you in rather interesting places where you’d even consider staying awhile.
Raul Jaurena, ‘master of the tango’, has put out one of our favorite albums this week: Fuerza Milonguera [Soundbrush Records]. A native of Montevideo, Uruguay, and current resident of New York, Jaurena makes the traditional sounds of the tango he was brought up with — he’s played since age eight – sound their most haunting, bewitching and memorable, adding elements of influence Astor Piazzolla’s ‘tango nuevo’ to create a lively and modern take on the music of the bandoneon. Getting his practice in various tango ensembles throughout 1960′s/’70′s Uruguay, Brazil, Chile, Ecuador and Venezuela, Jaurena has gone on to compose for the Irene Hultman Dance Company in New York and to be nominated for, and win, Grammys in both the United States and South America. His latest release is a lively and heartfelt combined effort of the talented bandoneones, Juarena, Miguel Trillo, Jose Lagreca and Nario Recoba, with piano, violin, viola, cello, bass and guitar flourishes added throughout. Listen to two tracks from Fuerza Milonguera, above.
Review: ‘Tango on the Terrace’ by: Jeanne Claire van Ryzin | Sunday, June 21, 2009
Tango set a sophisticated tone for Austin Chamber Music Center’s kick-off concert Friday night for its annual summer festival.
Beautifully played by a five-piece ensemble led by ACMC artistic director Michelle Schumann and featuring Grammy-winning bandoneonist Raul Jaurena, the virtuoustic hour-long program of Astor Piazzolla’s urbane and expressive nuevo tango exemplified the smart, forward-thinking turn this chamber festival has taken since Schumann took the helm.
Regarded as one of the world’s most prominent bandoneonists — and a musician who can claim a direct link to Piazzolla before the great composer’s death in 1992 — Jaurena’s masterful playing exemplified tango’s schizophrenic tones and moods. Nervous and edgy, lusty and full-bodied, mournful and nostalgic — Jaurena wrested it out of an instrument that has one the most compellingly unique voices.
Schumann and the ensemble — Korine Fujiwara on violin, Russ Scanlon on electric guitar and Chris Maresh on bass — made spotless work of Piazzolla’s charging rhythms, twisting harmonies and jumpy use of counterpoint. In tango, every instrument can be used as percussion, with string players not just using pizzacato plucking, but making the distinctive ‘chicharra’ sound produced from scraping the strings. Those are tricky techniques that can sound inauthentic in some hands, but both Fujiwara and Maresh pulled it off with aplomb.
Jaurena and the ensemble poured a breathtaking level of energy and passion into the seamless program and that energy flowed off the stage. The audience — a packed house in the intimate auditorium of the Lady Bird Johnson Wildflower Center — began the rousing cheers about half-way into the concert that were soon joined by ovations.
Media Alert: Roger Davidson/ Raul Jaurena album - Pasion por la Vida - Soundbrush Date April 7, 2009
By Woodrow Wilkins
To the untrained ear, it sounds like an accordion. And to be fair, there are similarities. However, the bandoneon is its own instrument, and it is part of what makes Tango Duo's Pasion Por La Vida an interesting and unique album.
Pianist Roger Davidson and Latin Grammy Award-winner/bandoneonist Raul Jaurena come together for a solid collection of original tango music. Davidson has recorded two previous tango albums, but this is his first with all-new music. Jaurena has worked closely with Davidson for 15 years and is one of the world's most prolific bandoneon players.
“Fuerza Milonguera” sets the mood for dancing right off. Starting in a march, it quickly becomes more of a strut. Jaurena moves seamlessly from accompanist to half of a duet, shifting back and forth from sharing the lead to complementing the piano. Each takes turns as soloist while the other maintains the rhythm.
“Camino al Sol” begins with a leisurely piano introduction. Then Jaurena brings in a bouncy lead before fading into the background while Davidson comes to the fore. As with many of the songs, this selection plays as though the musicians were tangoing with each other while providing music for others to dance to. Near the end, the music calms and slows to a near stop before Jaur ena brings back the melody, setting up a triumphant finish.
“Todo el Tiempo” begins in a melancholy mood but that changes quickly as the tempo picks up. At times, the melody is reminiscent of a love story theme. Davidson and Jaurena increase the passion as this song builds to its climax.
The tango is a couple's dance, so it's fitting that this 18-song set is performed by a duet. The piano and bandoneon dance with each other throughout, each taking turns as leads.
"I LOVE TANGO: THE BEST KEPT SECRET IN TOWN"
Woodside Herald Feb 18, 2006 BY: Miguel Falquez-Certain
"To begin with, this is the first time we have the opportunity to listen to Mr. Jaurena’s outstanding musical output, and exceptional it is. A master of the bandoneón (concertina), a unique instrument associated with tangos and milongas".
Lazz Review CD Title: Te Amo Tango Year: 2006
Raul Jaurena, the Uruguayan king of tango, is regarded as one of the most prominent bandoneonist in the U.S. I can say that, having never been exposed to his rich and articulate style, I was more than a little impressed with his handling of this utterly romantic dance music. When we think “tango,” most of us envision a couple proudly striding in tempo across a dance floor with sturdy, deliberate steps, heads thrown back in a moment filled with a hint of arrogance and pomp, clutching outstretched hands---and maybe displaying a rose between the teeth for dramatic effect. Well, Raul Jaurena may conjure up that much-accepted image, but he brings something much more to Te Amo Tango. Accompanied by expressive and sometimes anxious violins and lusty, robust vocals filled to the brim with all of the sexiness that Latin music brings, something inexplicably rich and mesmerizing happens here. “A Mancuso,” “Tatoneando” (with its mood swings), and “La Cumparsita” come to mind as a few of the more punctuating pieces, although the entire album is unmistakably tango. Te Amo Tango is an album that I would think one has to take very seriously if you know anything at all about the tango culture. Be not afraid to sample this, if for no more reason than to open that one portal in your mind that leads to lands unexplored. Oh, no doubt that this may catch smooth jazzers by surprise, but, sometimes, certain “left turns” wind up landing you in rather interesting places where you’d even consider staying awhile.
