Musicians study linguistics, each owing their artistry to the mastery of a specific language. Every note relies upon inflections, tone, and articulations that verbalize a jazz, classical, or Latin tounge. Distinct dialects arise in a musician’s performance that trace lineages back to original influences. Some musicians spend a lifetime solidifying the speak that drives their tradition. On Buenos Aires Tango Standards, Pablo Aslan and his group display the mastery of two musical languages, jazz and tango.

Balancing The Languages of Jazz and Tango
All the musicians originate from Buenos Aires, yet the recording speaks with a strong jazz foundation. The bluesy interplay between Aslan and trumpet player Gustavo Bergalli on “Bahia Blanca” recalls conversational jazz players while Bergalli’s phrasing reveals a Miles Davis influence. Both Aslan and drummer Daniel Piazzolla imply funk with a powerful vamp on “Tinta Verde.” Then pianist Abel Rogantini trills chords and saxophonist Jorge Retamoza plays bold modal melodies, projecting the ghost of John Coltrane’s classic quartet. The musicians lean towards free improvisation at points of “La Cachita”, sparking images of Charles Mingus’ adventurous ensembles. A wide spectrum of history runs through these musicians’ performances, spoken audibly in the language of jazz.

At the same time, tango elements clearly steer this jazz quintet into a different set of linguistic properties. The album’s music originated as classic Tango songs, drawing upon composers such as Agustin Bardi and Carlos Di Sarli. The chord progressions stay pure to these composers’ styles, boldly confirming the Argentinean tradition. Songs such as “El Pollo Ricardo” and “Don Augustin Bardi” have three section forms, as opposed to the traditional two section jazz forms. The rhythm section approaches sections of songs differently, and in some cases, disappears for extended periods of time. Aslan’s bow implies Tango’s symphonic side on “La Cachita” and “Bahia Blanca”, firmly stamping the music’s heritage into the performance. The group’s Tango voice speaks strong throughout the album, never drowned out by their Jazz.

Artistic Accents
Within this multi-language mixture, the musicians speak with the accent of their personal artistic vision. Bergalli, Rogatini, and Aslan all take turns personalizing pieces of the lyrical melody on “El Pollo Ricardo.” Retamoza’s saxophone sings with a vocal quality on the introduction to “Ventarron,” filled with the heartfelt passion of the best Tango vocalist. Rogantini slides between swing phrasing and powerful tango lines during an extended solo on “Don Agustin Bardi.” Aslan reflectively interprets the melody to “Loca Bohemia”, and then spills his inner voice onto the song with an insightful and exciting solo. On “De Puro Guapo,” Piazzolla builds a solo statement from silence into an explosion of cymbals and toms. These five musicians remain committed to their linguistic duality throughout the tracks, and their individual musicianship successfully brings their ideas into a defined concept.

Bilingual Fluency
On Buenos Aires Tango Standards, Pablo Aslan’s quintet performs with a bilingual musicality that burns strong with fire of both Tango and Jazz. Each musician speaks with a musical fluency that never smells of novelty. Their comfort level implies that they could play a swinging Ellington cover and move right into an intensive Astor Piazzolla composition. The result naturally maintains the integrity of both traditions and presents a unique musical product. Linguistics aside, these musicians clearly communicate a passion to move jazz and tango into a new plane of co-existence.

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