Blas Rivera: Ojala Que Me Escuche

Blas Rivera: Ojala Que Me Escuche

Published in: 2005

Playtime: 57 min

Order-Number: dz005004

Price: 17.99 €

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01. michelangelo 70, blas rivera
02. oblivion, blas rivera
03. fugatta, blas rivera
04. adios nonino, blas rivera
05. chiquilin de bachin, blas rivera
06. bayres 72, blas rivera
07. libertango, blas rivera
08. ojala que me escuche, blas rivera
09. otono porteno, blas rivera
10. la muerte del angel, blas rivera
11. vuelvo al sur, blas rivera
12. balada para un loco, blas rivera

Corina Oosterveen for the Magazin Folker says about:

Being an hommage to the model figure of Tango Nuevo, Astor Piazzolla, this fourth CD by the Argentinian cosmopolite and saxophone player Blas Rivera only contains one title written by himself. This is quite surprising, because insiders know Blas Rivera as THE successor of Piazzolla, and here he deals with Piazzolla`s compositions. The high quality CD was recorded with an international band and nine guests from Brazil, England, Uruguay, France, the USA and Italy. Thus, the B. Rivera Quartet (piano, violin, bandoneon, sax) is amplified or reduced depending on the title to (e-) guitar, drums, double bass, voice, cello, alto saxophone, synthesizer or the like, so that every track constitutes a special arrangement to which the sax subordinates itself (Rivera doesn’t exploit guests and Piazzolla, but transforms). This creates a CD one can listen to wonderfully from start to finish and which really surprises. The “old” hits like Michelangelo, Libertango are experienced in a new way, provoke a new understanding (just like the best ”el loco“ recording I know): If you appreciate Piazzolla, the sound of a virtuoso playing sax, or simply “bloody good” music, you will love this CD. [Corina Oosterveen für das Magazin Folker)

Jazzthing says about:

He is always caught between two stools, says the Argentinian Blas Rivera who lives in Rio. The Jazzers miss the dominant improvisational parts in his music, the Tango faction doesn’t appreciate the saxophone in the line-up, the classics, finally, regard his instrument as an inferior one. Well, this is not much different to the case of his model, who was neither accepted amongst the rigid purists. We are talking about Astor Piazzolla here, whose compositions have been elaborated in an unusual way. It is fascinating how Rivera’s arrangements follow the overtone correspondences and dissonances between the tenor sax and the bandoneon. Besides, it surprises what the wind player created out of some well-known Piazzolla pieces. "Libertango", for example, turns up with some brassband-like movements, which are accompanied at some stage by a diabolic electronic guitar solo. It is also impressing that Rivera meets the unpretentious (and at the same time moving) tone of his idol with his solemn soli. The tenor saxophone player is undoubtedly a dignified and worthy successor of Piazzolla. (Jazzthing)

Jazzthetik says about:

Blas Rivera, according to himself, feels like a musician who is always caught between two stools: The Tango musicians don’t like his saxophone, the Jazzers think, he doesn’t improvise enough, and the classics say, he improvises too much. Still, these people are usually the most interesting. In the case of Tango, the unconventional combination of Jazz and classic by Astor Piazzolla made this music flourish again in the 1980s. Not surprisingly, Blas Rivera interprets his pioneer in his own expressive way. Often, the result is somehow lyrical, rather reminding of Nino Rotas soundtracks and not following the pure Tango air. Again and again, saxophone, bandoneon, piano, violin and cello swirl around and embrace each other in a baroque way. A funeral march also turns up, and later on pieces with more fast-paced rhythms. If this was generated electronically, one would have to call it Drum’n’Bass. There also appear some duets, one of them showing the Spanish influence on Tango. And in the end a cacophonic Tango mixes with a waltz. Rivera calls his music “bastard salad”. And he is right in a pleasant way. (Jazzthetik)