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| 1. | Berliner Tanguismos Part I
by Quique Sinesi
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| 2. | Berliner Tanguismos Part II
by Quique Sinesi
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| 3. | Berliner Tanguismos Part III
by Quique Sinesi
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| 4. | Berliner Tanguismos Part IV
by Quique Sinesi
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| 5. | The Lady
by Charlie Mariano
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| 6. | Faluseando
by Quique Sinesi
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| 7. | Zephyr
by Charlie Mariano
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| 8. | Tarde De Lluvia En Köln
by Quique Sinesi
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| 9. | Alta Paz
by Quique Sinesi
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| 10. | If Only
by Charlie Mariano
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| 11. | Tango Para Charlie
by Quique Sinesi
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| 12. | Gone
by Charlie Mariano
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Jazz
Recorded: October 29 & 30, 2000, Hansa Studio, Bonn
Charlie Mariano as, fl
Quique Sinesi 7 string spanish guitar, charango, piccolo guitar
Quique Sinesi plays Oscar Trezzini guitars (Argentinia)
Engineer: Klaus Genuit
Producer: Werner Aldinger
TANGO PARA CHARLIE
What you wanted
I felt, or felt I felt.
This was more than one.
Robert Creeley, "Two"
More than one is (obviously) two. Might be Four in One, as it so often is in jazz (Think Coltrane Think Rollins). Might take five. (Think Armstrong Think Miles). Might even be eighteen (Think if you still can Ellington). But two is the closest we can get. The closest by far. Two can feel what the other wants. Two is the abstraction of more than one. Two is the most open more than one.
Jazz being the art of communication, two might be the closest we can get to a definition of its essence. In the proliferation of duo recordings that filled the seventies and trickled on into the present, there have been few incorporating the guitar, and often these were guitar duets. Right now, only Joe Pass comes to my mind as a guitarist working with other instruments in a duo setting (J. J. Johnson's trombone, Ella Fitzgerald's voice, Jimmy Rowles' piano). But Pass is a good case in point: a strong solo guitarist who is able to provide both a cushiony accompaniment and a free solo commentary even to a partner whose instrument limits his ability to accompany.
Which brings us (at last!) to this recording. Enrique "Quique" Sinesi, who joins alto saxophonist Charlie Mariano on these recordings, is a strong solo guitarist with a very distinctive musicality. His professional life was determined by the music of his Argentine homeland, he began in Tango Nuevo groups with bandoneonist Dino Saluzzi and Pablo Ziegler, the former pianist in Astor Piazzola's bands. His playing stays deeply influenced by this music, but he has always remained open toward jazz. In 1998 he performed before Jim Hall, who since then considers Sinesi one of his favorite guitarists.
On "Tango para Charlie" this solo wizard encounters the sublime melodic magic of one of the great saxophonists in jazz. The wonder of Mariano has always been his stylistic openness, his ability to go from Kenton to Karnataka, from Pierce to Pork Pie without compromising his personal voice, his "jazz" style. So when Sinesi boards his 7-string Spanish guitar and sets up a tango groove employing the meanest bass string on any side of the ocean, Mariano counters with cool and jazzy melodic lines that abstract the groove toward that openness of the "two". With his supple scarcity Mariano opens up the closure that is inherent in the solo/accompaniment that a guitar can provide. There is no closure here. With every sound these two musicians make here, with every beat they share, they come closer together, moving like one and yet keeping the openness of the two. An abstraction of more than one.
There is no closure in these two. They provide a dialogue that is more. Than one. The more than two. Of music.
---18 February 2001 Stephan Richter / writer, clarinetist
Charlie Mariano
Active Decades: '50s, '60s, '70s, '80s, '90s and '00s
Born: Nov 12, 1923 in Boston, MA
Died: Jun 16, 2009 in Cologne, Germany
Genre: Jazz
Styles: Bop, Cool, Hard Bop, West Coast Jazz
Charlie Mariano's career can easily be divided into two phases. Early on he was a fixture in Boston, playing with Shorty Sherock (1948), Nat Pierce (1949-1950), and his own groups. After gigging with a band co-led by Chubby Jackson and Bill Harris, Mariano toured with Stan Kenton's Orchestra (1953-1955) which earned him a strong reputation. He moved to Los Angeles in 1956 (working with Shelly Manne and other West Coast jazz stars), returned to Boston to teach in 1958 at Berklee, and the following year, had a return stint with Kenton. After marrying Toshiko Akiyoshi, Mariano co-led a group with the pianist on and off up to 1967, living in Japan during part of the time and also working with Charles Mingus (1962-1963).
The second phase of his career began with the formation of his early fusion group Osmosis in 1967. Known at the time as a strong bop altoist with a sound of his own developed out of the Charlie Parker style, Mariano began to open his music up to the influences of folk music from other cultures, pop, and rock. He taught again at Berklee, traveled to India and the Far East, and in the early '70s settled in Europe. Among the groups Mariano has worked with have been Pork Pie (which also featured Philip Catherine), the United Jazz & Rock Ensemble, and Eberhard Weber's Colours. Charlie Mariano's airy tones on soprano and the nagaswaram (an Indian instrument a little like an oboe) fit right in on some new agey ECM sessions and he also recorded as a leader through the years for Imperial, Prestige, Bethlehem, World Pacific, Candid (with Toshiko Akiyoshi in 1960), Regina, Atlantic, Catalyst, MPS, CMP, Leo, and Calig, among others.
---Scott Yanow, All Music Guide |
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