On Bajo Cero, the internationally renowned pianist Pablo Ziegler is featured in a highly virtuosic duet setting with guitarist Quique Sinesi. The respected veteran of the vibrant Buenos Aires jazz scene and former member of Astor Piazzolla's highly regarded ensembles also invited Walter Castro to play the bandoneon and round out this great musical program of sultry tango and jazz improvisations. Among the beautiful milongas included on this program are "La Rayuela," "Milonga del Adios," and "Planufer Milonga." These are intelligent reflections of the South American dance songs that remain very popular in the southern part of the continent. To vary the song selection, Ziegler includes two of Astor Piazzolla's rarely recorded compositions: "Chin Chin," a recording dedicated to the piano, and "Fuga y Misterio," one of the most complex fugues ever composed by Piazzolla. "Bajo Cero" is but one of the four great originals penned by Ziegler. It is a standout because of its three-part structure and emotional understatements. As with previous efforts as a pianist, composer, and bandleader on his 1990s releases, Pablo Ziegler is in great form and furthers the tango nuevo movement to a new level of interest.

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Cálido el Tango "Bajo Cero"
El pianista argentino Pablo Ziegler le rinde tributo al llamado "Tango Nuevo" y a su exponente más grande, Astor Piazzolla, en el disco "Bajo Cero"; editado por el sello disquero Khaeon.

EL ARTISTA
Los más entendidos consideran a Ziegler como el "artista vivo más importante del Tango Nuevo". Su formación profesional encuentra sus raíces en la música clásica y en el ambiente nocturno del jazz en Buenos Aires. Desde el 1978 al 1989 trabajó continuamente con Astor Piazzolla de quien heredó esa forma tan particular de interpretar el tango. En la década pasada, fundó el grupo "Quinteto para el Nuevo Tango" con el que recibió elogios de la crítica especializada y de músicos reconocidos en el mundo del jazz.

Utilizando la improvisación como recurso principal, Ziegler enriquece el legado del Tango Nuevo y explora los elementos comunes entre el tango y el jazz. En este disco cuenta con la participación de dos artistas que comparten la pasión por la improvisación espontánea: el guitarrista Quique Sinesi y Walter Castro, una de las estrellas jóvenes del bandoneón.

EL DISCO
Zigler, Castro y Sinesi forman el trío que está a cargo de los diez temas del disco "Bajo Cero". El nombre de esta producción es un juego de palabras en el que se hace referencia al disco "Tango Zero Hour", esa joya discográfica que grabó Piazzolla en el 1986. También, el nombre "Bajo Cero" se refiere a la ausencia del bajo en el sonido del trío.

Tangos tradicionales como: Flor de Lino, Yuyo Verde y Los Mareados cobran una dimensión distinta con las improvisaciones de Zigler y Sinesi. Ambos realizan un trabajo sobresaliente con la combinación de guitarra y piano.

En las manos de Walter Castro, el bandoneón se escucha dinámico, alerta y expresivo al mostrar la melancolía, la tristeza, la alegría y la sensualidad inherentes en el tango y la milonga.
Este disco estará disponible en el mercado a partir del próximo martes 24 de junio. Podemos pronosticar que el mismo será del agrado de muchos. Los seguidores del jazz lo encontrarán "interesante" por la presencia continua de la improvisación. Los amantes del tango tienen en el bandoneón una referencia sonora que les será bien familiar. Y los seguidores del trabajo del sonido y el estilo del "Tango Nuevo", estarán de acuerdo en que Bajo Cero es la continuación cálida y digna del legado de Piazzolla.

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"Nuevo Tango" is what Argentinean pianist Pablo Ziegler calls his music. El Profesor Ziegler was the last pianist to perform with the great Astor Piazzolla, joining the master’s quintet from 1978 to 1989. After Piazzolla disbanded the group, Ziegler formed Cuarteto Para El Nuevo Tango, beginning to compose and perform his Nuevo Tango. On Bajo Cero, Ziegler debuts his newly formed Nuevo Tango Duo consisting of himself on piano and Quique Sinesi on guitar. He supplements the duo with virtuoso bandoneon player Walter Castro. The resulting trio makes some of the most entertaining and provocative music in recent memory. In addition to the newer Ziegler and Sinesi compositions that the Duo has been playing recently, they honor Piazzolla with two of his own: "Chin Chin," and "Fuga Y Misterio" grace this recording like a fine compliment, deepening the dark and humid beauty of this music.

Zeigler’s compositions trend toward the virtuostic. His writing and arranging are well thought out and carefully crafted. "La Rayuela" and the title piece are complex as red wine and heady as fine port. His empathic relationship with Sinesi is a plus, providing the music with the depth necessary to sustain itself, almost like a breeze. Walter Castro shows up as the smile on the face of this lilting music. Khaeon continues its documentation of Latin Music with this very fine Bajo Cero.

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When one thinks of Tango, we think of Gardel or Piazolla for those on the Jazz side. Its romantic and at time aggressive but always makes you feel like dancing.

Bajo Cero is a playing with words meaning "No Bass". With Pablo Ziegler on Piano, who has an extensive journey in the world of tango with jazz. Quique Sinesi on Guitar also with a lot of experience. On the bandoneon or the instrument that makes the tango, is Walter Castro. This project is an eye opener since the melting of tango and jazz is seamless. With classic tango tunes like "Flor De Lino" and Piazolla's "Chin Chin" and "Fuga Y Misterio", Ziegler and the gang make the tango cool and it shows the great similarities music in Latin America have with its diversity of rhythms.

This production is one to enjoy either dancing or just listening with a glass of wine. I'm sure Gardel (who passed away in the mont h of June in a plane crash in Colombia) would have been proud of how far the tango has come.(JR)

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Si la mayor parte de los nuevos lanzamientos hoy día están totalmente carentes de creatividad, peor le va a los medios de comunicación que les hacen publicidad. Al prestarle atención a sus promociones, veremos que todos lanzan siempre “algo nuevo y diferente”, cuando al final lo único que logran demostrar es su falta de talento y calidad interpretativa. Hoy, para cantar, no hace falta voz, solamente –como en el caso de Aracely Arámbula y tantas otras– un bello rostro y un majestuoso cuerpo; pero como felizmente el canto sale de la garganta y no de las mamas, estamos pasando por tan mala racha interpretativa que en corto tiempo ni los piratas podrán vender discos.
Gracias a que toda regla tiene su excepción, este mes me gustaría que escucharan una anomalía: el compacto “Bajo Cero”, cuyo lema es un juego de palabras referentes a “Tango Zero Tour”, el famoso elepé de Astor Piazzolla (1986), así como a la ausencia del contrabajo en la presente grabación, algo que sí es novedoso.
Aunque el autor de esta gema musical, el argentino Pablo Ziegler, cuenta con una sólida formación clásica, después de dedicarse al jazz alcanzó un alto reconocimiento internacional como parte del legendario quinteto de Piazzolla. Hoy, su talento natural, su conocimiento del gusto urbano y su experiencia jazzística le permiten ser considerado el mejor pianista que cultiva la improvisación del tango, aparte de que los más entendidos lo califican como el artista vivo más importante del “Tango Nuevo”.
En esta grabación, junto a Ziegler participan dos artistas que comparten su pasión por la improvisación espontánea: el guitarrista Quique Sinesi y la joven estrella del bandoneón Walter Castro. El trío utiliza la improvisación como recurso principal, mientras que enriquece el legado del Tango Nuevo con los elementos comunes del tango y el jazz.
En “Bajo Cero” aparecen 10 temas, entre ellos, los tangos tradicionales “Flor de lino”, “Yuyo verde” y “Los mareados”, que cobran una dimensión distinta con las improvisaciones de Zigler y Sinesi, quienes realizan un trabajo sobresaliente en la guitarra y el piano, mientras que de los dedos de Walter Castro brota el sonido de un estremecedor bandoneón, dinámico, alerta y expresivo, que muestra tanto en el tango como en la milonga la melancolía, tristeza, alegría y sensualidad inherentes al género.
En una conversación, Ziegler reveló que, a partir de su condición de investigador de la música de Buenos Aires, descubrió que el jazz y el tango, pese a tener orígenes disímiles, están íntimamente relacionados. “Mucho se ha hablado de las relaciones entre el tango y el jazz, pero basta disfrutarlos para darse cuenta de que tienen mucho en común”, afirmó el músico.
Podemos pronosticar que este disco agradará tanto a los seguidores del jazz como a los fanáticos del “Tango Nuevo”.

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This is a new and exciting CD for both Tangueros and Jazz aficionados, as it has eclectic, contemporary Tango for dance and listening enjoyment, as well as a fused Jazz interpretation of songs by Astor Piazzolla, Stamponi, Federico, Sinesi (the guitarist), Cadicamo, and, of course, Pablo Ziegler. I do not believe that I have heard live performances of Walter Castro or of Quique Sinesi with Ziegler (this is my fourth live Ziegler concert) and would warmly welcome such an opportunity.

Notable tracks:

#1 – La Rayuela (Hopscotch) – Composed by Pablo Ziegler. This piece has rapid, repetitive rhythms in a syncopated and upbeat design. It is infused with contemporary Jazz in a compelling and contrasting theme.

#4 – La Fundicion – Composed by Pablo Ziegler. This is a dramatic and tense piece that surrounds the listener with emotions, with Walter Castro's bandoneón as a prominent force. It is a good performance piece. Ziegler has created a sensation of loss and longing, through Castro's bandoneón.

#6 – Bajo Cero (Ground Zero) – Composed by Pablo Ziegler. The title piece is jazzy, moody, and melancholy. Ziegler allows Castro to take a strong lead, prior to his lightning piano elements. With dissonance and daring, Bajo Cero tugs at the emotions.

#8 – Planufer Milonga – Composed by Quique Sinesi. Sinesi begins this very contemporary combination of Tango, Jazz, and New Music with faint percussive taps, perhaps against the piano. Castro leads the theatrical piece, which is esoteric and ethereal

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A masterful recording
Pablo Ziegler, a protege of one of Argentina's greatest composers, Astor Piazzolla, produced with Quique Sinesi guitar and Walter Castro bandoneon a beautiful CD. It features Ziegler's own compositions as well as music by Piazzolla and others. The tunes and playing often soulful are spirited and passionate in the true style and sensitivity that musicians from that country usually produce. And unlike many of the Piazzolla recordings, the bandoneon when played by the composer, is not allowed to dominate the sound, producing a much more intimate effect resembling a chamber music trio. Buy this CD if you enjoy the best that Argentina can produce.

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One of Astor Piazzolla’s great legacies was to bring a high level of improvisation into tango music. He took it out of it’s self-imposed ghetto and spread seeds across the world music scene. Only now are this sadly-deceased musician’s seeds bearing fruit – witness, for example, the fantastic fusion which is Gotan Project. But here we’re talking of music much closer to Piazzolla’s oeuvre – simple arrangements full of light and space, with plenty of room for improvisation around a theme. The overall sound has a very jazzy edge and Ziegler, often referred to as Piazzolla’s successor, is a very talented arranger/composer who comes from a jazz background but with a strong feel for his native country’s music. This album was recorded in Bonn, at the conclusion of a European tour, it features the New Tango Duo (Ziegler and guitarist Quique Sinesi) with guest bandoneon played by a former member of Ziegler’s Quintet for New Tango, Walter Castro. The 10 tracks on ‘Bajo cero’, recorded for European jazz giant label Enja Records, have all the essence of modern tango, carrying the genre forward in a very healthy state into the 21st century. Here’s a clip from a beautiful improvisation - ‘La Fundicion’.

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Pablo Ziegler (piano) & Quique Sinesi (guitar) with Walter Castro (bandoneon). The bandoneon is an instrument that sounds a lot like an accordion.

This album is filled with impressive music, and fabulous musicianship from all three players. What an unusual combination of instruments for the typical American listener! It is more European sounding, as Ziegler is a classically trained pianist and composer from Argentina. This man has a sense of humor and an inventive imagination. He combines the classical elements with Jazz and Tango, to make for some very intriguing and passionate music.

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Bajo cero
Pablo Ziegler y Quique Sinesi
La rayuela, Flor de lino, Chin Chin, La fundición, Milonga del adiós. Bajo cero, Yuyo verde, Planufer milonga, Los mareados, Fuga y misterio (MDR Records).

En 2002, el pianista Pablo Ziegler y el guitarrista Quique Sinesi plasmaron en un CD el trabajo que venían realizando como dúo en giras europeas. Ese es el material que ahora se edita en la Argentina y que por estos días están presentando en vivo, en Buenos Aires.

El dúo –que a veces se convierte en trío con Walter Castro en bandoneón– pasa por diferentes momentos musicales sin salir del ámbito tanguero. Porque “Bajo cero” aparenta ser un disco de climas que se arman por medio de las composiciones escritas por estos músicos. Además, ofrece combinaciones explosivas y versiones de un par de clásicos donde las melodías y el soporte armónico y rítmico son decorados con varias sutilezas.

Los intérpretes se cruzan con ferocidad en el juego contrapuntístico de la inspiración piazzolleana y un rato después construyen “Flor de lino” con singulares colores donde queda reflejado el estilo de cada uno. La falta de la palabra en versiones instrumentales de temas como “Flor de lino”, “Los Mareados” y “Yuyo verde” es un desafío y, a la vez, una buena invitación que es capaz de hacer este dúo.

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It’s easy to understand why Argentinian pianist Pablo Ziegler has been described at the successor to the phenomenal Astor Piazzolla. His latest venture, with guitarist Quique Sinesi and bandoneon virtuoso Walter Castro, Bajo Cero, based on their tour, leaves little doubt of his remarkable contribution to Tango Nuevo.

The music is smart with just enough of a jazz flair to appeal to tango fans and to make it accessible to listeners unfamiliar with traditional tangos and milongas. Milonga “La Rayuela” opens the CD and wows the listener with fast paced piano and bandoneon work. “Flor de Lino,” one of three traditional tangos on this CD, slows the pace and charms with its interplay between guitar and piano. “Chin Chin,” a piece written by Piazzolla, exudes passion and demonstrates the improvisational skills of these three talented musicians. Ziegler’s composition “Milonga del Adios” walks the listener through the passion and melancholy of the Argentinian soul in this slower piece. Quique Sinesi’s composition entitled “Planufer Milonga” is a stunning track with a little Candombe-inspired rhythm tossed in for interest.

Bajo Cero illustrates the talents of this remarkable trio. One could only hope that Pablo Ziegler, Quique Sinesi and Walter Castro continue touring and come up with another CD as sharp and delightful as this recording.

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Un disco para ganar el Grammy del Tango

Muy en onda Horacio Salgan-Ubaldo de Lío, pero 50 años después, haciendo un tango con los sonidos del siglo XXI, lo que no quiere decir sin raíces, al contrario. Más aún: Pablo Ziegler-Quique Sinesi no tienen nada que envidiarle a ningún dúo de la historia del tango en piano y guitarra, ni siquiera a los nombrados. Se asume la idea y se remite a la prueba: Flor de Lino (Stamponi), Yuyo Verde (D. Federico), Los Mareados (Cobián-Cadícamo), tres joyas de todos los tiempos incluidas en el disco (“Bajo Cero”, MDR Records 1412) ) que los reúne y que acaba de aparecer, y que acaso sea lo mejor del año en el género (¿y por qué no competir en 2005 por los Grammy del tango?).

Ziegler y el piano tienen su acta de nacimiento en la música clásica y el jazz; Sinesi en el jazz y en el rock. Pero Ziegler, que es el ideólogo de todo esto, tiene un cruce en su vida que lo marcó para siempre. Un día de 1978 Oscar López Ruiz se lo recomendó a Astor Piazzolla y, por 10 años, fue el pianista de su quinteto en los tiempos en que el mundo (en general) reconoció en Piazzolla a uno de los grandes del siglo XX sin aditamentos.

Con Walter Castro como bandoneonista invitado, un músico joven pero con experiencias en las orquestas de Osvaldo Pugliese y Horacio Salgan, en medio de una gira europea (2003), el trío (a ratos dúo) se encerró a grabar este disco en Hansahaus Studios Bonn (Alemania), masterizado luego en Sterling Sound de New York (USA). El producto es casi perfecto, se escuchan todas las notas, cada sonido es un deleite; es la hermosa conjunción moderna: arte+técnica.

Ziegler es mucho más interprete que compositor (misma idea para Sinesi), pero de todos los músicos de la última época de Piazzolla es el que más lejos llegó en inquietudes creativas. Frente a la hoja pentagramada (en blanco) aflora el hombre con jazz en las raíces, pero hombre de Buenos Aires y de Piazzolla (nunca mejor usada la expresión) tiene cosas para decir desde la música. Milonga del Adiós parece inscribirse en esa línea rectora y fundamental que viene de Milonga Triste (Piana-Manzi) y Milonga del Angel (Piazzolla); es el mejor tema que compuso para este disco.

A Piazzolla mismo le hubiera gustado la recreación que hace de Fuga y Misterio, en especial el rulo final de medio minuto (una especie de bonus) repasando lo más eléctrico de la fuga. Chin Chin, otro tema de Astor, compuesto como música para un jingle de televisión, en manos de Ziegler (más Sinesi y Castro) vuela aún más loco (improvisa hasta el bandoneón) que en la versión original del autor.
¿ Disco? No,¡discazo!

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The latino musical culture has many wonderful & varied nuances, exemplified by this Pablo Ziegler-Quique Sinesi-esque clutch of keen, ethereal originals penned by Ziegler. The disc will delight the sensibilities of any diehard latino jazz aficionado.

Pablo writes with an 'urgent' style which (I feel) will prove to be his forte' in CD projects to follow featuring his original compositions. I don't mean to offer my views in any presumptuous manner.........But, I relegate my readers to the positive 'gypsy' influences Pablo has offered in the vernacular of 'Django' or, something maybe ''Grappelli' might have interpreted or written. My point here is that Pablo could have easily (In the past) given these two musical giants his music to record, & I think both Django & Grappelli would emerge edified by Pablo's art. Last, this CD is a confident & new direction in original music, & might I add, it's timely as well.

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Rescued from the ashes of Khaeon Records, Bajo Cero should be welcomed with open arms. I warmly received this recording when it was first released and am fortunate to have the opportunity to reconsider it here. The disc is ostensibly a duet between former Astor Piazzolla-pianist Pablo Ziegler and guitarist Quique Sinesi, Ziegler’s Nuevo Tango Duo.

What does this music sound like? I suspect had Ravel or Debussy or any of Les Six been Latin Americans from the humid climes of Argentina and existed now, they would be making this music. It is impressionism with an edge. The complex and densely virtuosic opening piece, “La Rayuela,” evidences this. It is a bit like a tango “Giant Steps.” Walter Castro’s bandoneon dissolves into the swirling mix of notes wafting from Ziegler’s piano. Quique Sinesi’s guitar is precise and vital.

In contrast, “Flor de Lino” is a breezy waltz that at once recalls Chopin, Gottschalk, and Jelly Roll Morton as well as Piazzolla. This, with “Yuyo Verde” and “Los Mareados,” are purely traditional tangos of piano-guitar duo. Sparely arranged with ample room for improvisation, Sinesi demonstrates his unique talent for filling spaces with long, flowing lines pregnant with Latin pathos.

Piazzolla shows up on his two rarely performed tangos, “Chin Chin” and “Fuga y Mistero.” The former piece was composed late in Piazzolla’s life and is dedicated to the piano. The latter is a more classic piece, Piazzolla’s most complex fugue with 12 statements of each theme, originally included in his tango opera, “Maria de Buenos Aires.” Both are treated respectfully so as not to stifle the breathing of the music. Zielger frames the pieces with an appropriate splendor. Bajo Cero is a welcome re-release that points the direction of the house that Piazzolla built, the Nuevo Tango.

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Bajo Cero continues the string of fine releases from the folks at New York's Zoho Music, this time presenting an excellent example of tango nuevo in a trio format. Playing a combination of tango and jazz styles with roots in Argentina, the triumvirate is led by Pablo Ziegler, a graduate of the Buenos Aires Music Conservatory and Astor Piazzolla's pianist for ten years. He has been a featured symphonic performer and composer across the globe, as well as having associations with jazz players like Paquito D'Rivera, Gary Burton, and Joe Lovano. Ziegler is joined by Quique Sinesi, considered one of Argentina's more important guitarists, who has performed with the likes of Dino Saluzzi, Paquito D'Rivera, and Enrico Rava. Rounding out the trio is Walter Castro, a virtuoso bandoneonist who has played with Ziegler's quintet since 1995.

Listeners familiar with this type of music will be delighted with its freshness and craftsmanship. Those new to the style will find a wealth of surprises, not the least of which is its folk-like innocence. It has a romantic, dance-inspired inclination that, when combined with improvisation, becomes highly infectious. As in so many wonderful Fellini films, the spirit of everyday people and real human emotion emerges.

“ Flor de Lino” is a perfect example. A tuneful waltz, its simple, playful melody creates a mood one might find in a small café. A duet between Ziegler and Sinesi, the endearing melody is presented in camminando fashion, as are the individual free passages. Playing remains inside the changes and solos serve to embellish and preserve the melodic nature of the song. The title cut, “Bajo Cero,” is a slightly dark piece of mostly minor harmonies, intriguing in its use of tempo changes, intricate unison lines and theme variations. All three solo, Ziegler adding moments of a walking bass line throughout.

“ Fuga Y Misterio,” as its title suggests, is a modern fugue, crisply beginning with Ziegler, followed by Sinesi and then Castro. A second passage, played simultaneously, introduces a new theme, followed by solos that lead to a subtle ritard. The final section restates the second theme, played by Castro and Sinesi in unison as Ziegler darts playfully in and out. This is true world music, a wonderful example of how jazz today encompasses such an incredible variety of ideas and cultures.

“ Planufer Milonga” begins pensively with tapping wood, piano notes and bandoneon sounds. The samba-esque melody is immediately followed by Sinesi’s beautiful arpeggiated guitar work. His solo is equally impressive, presenting rapid lines full of tone and wonder. Ziegler and Castro add their own displays, enhanced by sections of ensemble magic where ideas coincide as if out of thin air. Ensemble dialogue does not get much better than this, no matter what the style or instrumentation.

Throughout the set, technical displays are abundant. However, the portrayal of each tune’s uniqueness remains paramount, and these gentlemen do it superbly. The recording quality is on even par, displaying each instrument in its proper context while blending their voices to perfection. Definitely worth a good listen!

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Estamos ante una de esas tertulias (por que no es otra cosa dada la intensidad), en las que un pianista y guitarrista con amistad de por medio y lenguaje en común, dan rienda suelta a toda la belleza que traen dentro y ¿por que no? a una que otra maraña nocturna de esas que interrumpen el sueño y tienen que ser plasmadas en papel. No podía faltar un bandoneón, es de Walter Castro.

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Jazz purity in Tango
Just came back form Buenos Aires, its a city vibrant with contemporary jazz,
first class musicians and a good display of argentinian jazz
I brought along.
I almost missed Bajo Cero for I looked in the jazz section and it was classified as Tango..
if you are familar with Piazzolla then this should come as a refreshingly pure addition.. if you are not,
then this is refreshingly good introduction.. not to miss

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On Bajo Cero (Khaeon), the tango nuevo accounts from pianist Pablo Ziegler, guitarist Enrique "Quique" Sinesi and bandoneon player Walter Castro are prominently attractive. Ziegler, who was Astor Piazzolla's pianist for 11 years, is a performer of considerable note. Aping or merely honoring the tango master, however, is not his agenda; improvising the tango is. Ziegler is irrevocably committed to improvisational paths of his own, albeit tipping the hat to Piazzolla by reinterpreting two of his compositions. Fully engaged in "Chin Chin," for example, syncopated chord melody resolutions, interactions and challenges are tossed at will. On the band's open and breathy "Milonga del Adios," nonetheless, their collective musical determination caresses the harmonic sequences that lie close to the heart of jazz standard fare, tango and its cognates. It's wholly uncommon to find a trio with this much cojonudo moodiness, dramatic personhood, virtuosi chord conception and masterful technique.

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When Pablo Ziegler began recording solo albums after a long stint as Astor Piazzolla's pianist, most of the songs he recorded naturally paid homage to the deceased master. Then, as time passed, Ziegler seemed to feel more comfortable as an artist in his own right, and began to add some of his own compositions to albums that still leaned heavily on the legacy of Piazzolla. With Bajo Cero, Ziegler takes his boldest step out of Piazzolla's shadow and confidently expresses his own muse even when interpreting a Piazzolla composition.
I bought Bajo Cero several years ago when it was first issued and liked it instantly but it soon became overwhelmed in the jumble of other music I was then listening to. Recently, I brought it with me on a long trip and allowed it to play over and over, thus allowing me to develop an appreciation for what a fine recording this is.
Here's what I like best: Rayuela, Flor de Lino, and the title cut are the finest expressions of Ziegler's own muse. Fuga Y Misterio is my favorite Piazzolla composition interpreted here and I really enjoy Ziegler's take on the classic Los Mareados and the more modernistic Yuyo Verde.
When I bought Bajo Cero, I was hoping that it would showcase a mature Pablo Ziegler, and Ziegler did not disappoint! He is ably backed by Quique Sinesi on guitar and Walter Castro on bandoneon, both of whom I'd like to hear more. They put the flesh on Ziegler's arrangements without overpowering his virtuoso piano.
Here's a CD that's as listenable at the office as it is at home. If you are a Ziegler fan, a Piazzolla fan, or merely piano enthusiast with a soft spot for jazzy tango, then I highly recommend that you add Bajo Cero to your collection. You won't be disappointed.

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Ziegler's latest is a Live recording from Holland in early 2007, another gem with his Grammy winning trio. Pablo demonstrates once again that he alone is the true heir to the Piazzolla legacy. That said, he is much, much more than that, an incredible virtuoso with improvisational skills that at once recall Horacio Salgan, Bud Powell and Keith Jarrett, played like Horowitz. He is also a skilled composer and arranger, one of those rare musicians who can play a Classical Concerto with confidence and elegance, and also improvise at the highest level. Walter Castro is arguably the leading Bandoneonist in Argentina, a student of the legendary Julio Pane, and Quique Sinesi is a wonderfully invented guitarist and composer. Grab this one.

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When a musician spends an extended period of time performing with a revolutionary artist, they take on a responsibility to carry that artist’s vision into the world. Their time as a sideman gives them a deeper understanding of the artist’s overall concept and an ability to execute it in concert. While they may not choose to repeat the artist’s repertoire or even approach music exactly the same way, they can integrate their mentor’s musical aesthetics into their creations. Ideally, they deeply ingest their mentor’s musical vision and then creatively reinterpret it, moving the music into a new generation. Pianist Pablo Ziegler spent over ten years performing with Astor Piazzolla’s quartet and then refined his own approach to Nuevo Tango; his work with guitarist Quique Sinesi and bandoneon player Walter Castro on BuenosAires Report reflects a unique voice built upon the foundation laid by Piazzolla.

Balancing Authentic Tango Roots and Personal Expression
Some pieces reflect a traditional tango foundation, building upon history while preserving Ziegler’s original voice. Sinesi establishes a subdued vamp on “Blues Porteño,” making room for Ziegler’s passionate melody. Castro demonstrates the powerful dynamic and expressive range of the bandoneon during his solo, building a highly personal solo. Sinesi uses a different approach relying more upon intensity until Ziegler makes a short but potent statement. Castro performs an insightful melody over a richly arranged background on “Muchacha De Boedo.” As the song builds momentum, Sinesi carefully constructs his solo, giving way to Castro’s sensitive improvisatory touch. Ziegler shines here, with an improvisation that shows his strength both as a jazz soloist and modern interpreter of tango. The trio takes an adventurous look at Astor Piazzolla’s popular “Libertango,” building from a rubato guitar introduction into a collective improvisation. Ziegler starts the movement into the song’s familiar melody, being careful to avoid an exact performance but relying heavily upon interpretation. From here, the musicians take several turns trading improvised statements, creating exciting interaction and inspired performances. The musicians display their authentic tango credentials, but also highlight their ability to bring their own voices to the music.

Personal and Spontaneous Duets
Ziegler adds color to the arrangements by altering the format to include two duets with Sinesi. An elegant two-chord vamp lays the foundation for a sensitive melody split between the two musicians on “Pájaro Ángel.” Ziegler thoughtfully explores several melodies, relying upon understatement to build his statement. Sinesi takes a more aggressive approach, adding contrast with fast runs and boldly pronounced phrases. Ziegler’s rubato piano solo opens “Elegante Canyenguito,” building into a melody that Sinesi supports with comping and harmonized lines. Sinesi utilizes progressive phrasing in his improvisation, successively building upon each idea. As Ziegler leaps into an extended solo, he assertively constructs melodic lines through the harmony. As the song builds into a powerful climax, Ziegler and Sinesi trade almost telepathic ideas, providing a revealing glimpse into their mutual understanding of each other. This smaller context exposes a different side to Ziegler and Sinesi’s musicianship, allowing listeners to hear a personal and spontaneous side of their personalities.

An Influx of Original Elements
Other songs reflect Ziegler’s influences outside Piazzolla and display his original take on the music. A series of rhythmic effects introduces “Places,” which soon moves into a melody from Ziegler and Castro. After an interlude in 7/4, the band creates a free-floating feeling under an expressive solo by Castro. The group picks up the rhythmic feel once again for strong statements by Ziegler and Sinesi. Ziegler presents a frenetic bass line leading into a repetitive melody from Castro on the tribute to Weather Report on “Buenos Aires Report.” While Sinesi establishes a bass line and Castro comps sparsely, Ziegler develops a solo full of fast runs and rhythmic chords. Sinesi alternates between generous dose of space and quick burst of speed, playing over a clearly defined momentum. “Buenos Aires Dark . . . ” creates a brooding mood with a 9/4 foundation and a series of introspective performances. All three musicians engage in a pained conversation, made potent through the use of dark dissonance. Ziegler winds through the unique time signature on his solo while Sinesi moves back to a standard 4/4 for his statement. Each song brings a new element into tango, which Ziegler’s group uses as a vehicle for personal expression.

Moving Nuevo Tango Into The Next Generation
Ziegler moves Nuevo Tango forward on Buenos Aires Report, preserving Piazzolla’s original intent while shaping the music around his own artistic personality. Ziegler captures the form and feel of Nuevo Tango, but his group approaches performance with the essence of a jazz trio. The thin texture allows for subtle interplay between each player, with some parts improvised and others composed. Each musician demonstrates their ability to walk in the jazz world, improvising with passion and grace as well as knowledge and power. The different configurations of duos throughout the album provide closer insight into the musicians and their personalities; the musicians thrive in this exposed setting, letting the world hear their voices. Ziegler’s compositions truly display his current relationship with Nuevo Tango; he skillfully mixes the style’s essential pieces with his own outside influences. Ziegler holds his responsibilities to the Nuevo Tango tradition and the greater music world with much care - his creative interpretation of Piazzolla’s influence brings him into the position of stylistic master, moving Nuevo Tango into the next generation.

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Internationally acclaimed pianist Pablo Ziegler is probably best known as the pianist to the great Astor Piazzolla, whom he played with throughout the 1980s. Ziegler has carried on the torch since the master's death in 1992, issuing a handful of very good albums in the late '90s. Also featuring guitarist Quique Sinesi and bandoneon player Walter Castro, the album is a mix of rich Ziegler originals and a few covers. Most notable of the latter are Piazzolla's "Chin Chin" and "Fuga Y Misterio," which is the most complex fugue ever written by the master. Yet it isn't the complexity of the music here, or even the virtuosity (though that helps) that makes this album so winning; it is the unadulterated passion that comes through in these beautiful tunes. In fact, while Bajo Cero originally came out in 2003 on a different label, the power of the music demanded a reissue a mere two years after it first came out.

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Pat Philips and Ettore Stratta have once again produced an innovative and sparkling series of fused Tango and Jazz at New York’s Jazz Standard, with new guest artists each year. Tonight’s guest artist, saxophonist, James Carter, appeared with the “regular” tango quartet for this series: Pablo Ziegler on piano, Hector del Curto on bandoneón, Claudio Ragazzi on guitar, and Pedro Giraudo on bass. I caught the late set, and the musicians blazed right into their searing melodies. The works ranged from Piazzolla to Ziegler’s own compositions, with tense edge, dynamic solos, and pulsating rhythms, many in performance Tango motif.

The first works brought in creeping “cat step” segments, designed with Ziegler’s glittering piano melodies, Ragazzi’s soulful guitar accompaniment, Giraudo’s steady punctuated bass, and that requisite bandoneón, with maestro Hector del Curto drawing the Club in, as he expanded the instrument to extraordinary tonal dimensions. Ziegler had just introduced a new work, and the Quartet was as relaxed and fused as if they’d been playing this composition for years. “Chin Chin”, by Piazzolla, brought out James Carter on sax. The sound was tremendous, as Carter and del Curto blended the theme, atonal tenor sax against deep, soulful bandoneón. The next piece featured Carter on soprano sax and Ragazzi on guitar. This dramatic presentation captivated Ziegler’s late set fans. Ziegler took time to announce that we had also heard “Blues Porteño” and “Buenos Aires Report”, both by Ziegler and Quique Sinesi, a guitarist, with whom Ziegler records.

Ziegler’s “Once Again…Milonga” brought out James Carter again, who clipped a few moments of Christmas music into his refrains. At one point, Ragazzi and Carter took off on a scintillating, rapid theme, with Ragazzi taking full measure of the music’s dynamics. Del Curto remained a steady, powerful presence throughout the set, as the bandoneón envelops the genre, without overwhelming the fused harmonies and jazzy overtones. And, of course, Ziegler gave his fans what they came to hear, highlights of the Piazzolla oeuvres and favorites and premieres of Ziegler’s own repertoire. Kudos to Philips and Stratta for another superb Tango Meets Jazz event.

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Música sin techo, en el Anfiteatro

Como corolario, subió a escena Pablo Ziegler, consagrado pianista argentino, junto a Armando de La Vega en guitarra y Walter Castro en bandoneón.
El repertorio del show varió entre piezas propias de Ziegler, y citas al universo piazzolleano, que el pianista conoce a la perfección, como que fue integrante de varias formaciones del gran Astor.
De La Vega y Castro, regalaron matices tangueros, con fraseos audaces y melancólicos.
Los tres conjugaron el verbo crear sin guardarse nada, y el público los premió con un estruendoso aplauso.

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Piazzolla, and beyond
Piazzolla was a bandoneón player who wanted to become a classical composer and went to study in France. His music, instrumental and vocal, mixed tango rhythms with harmonies that could have come out of Stravinsky or Poulenc, full of devices like tango fugues.

Until recently, however, this new diversity of tango fusions did not involve jazz; the sinuous, melancholy lines of Piazzolla's tangos sounded as if they were improvised but in fact were almost entirely written out. The situation has changed with Pablo Ziegler and his Quintet for New Tango.

In Piazzolla's later years, Ziegler — himself Argentine and classically trained — was the pianist in Quinteto Tango Nuevo. But though his group's name justifiably claims direct descent from Piazzolla, Ziegler does not approach Piazzolla as a slavish revivalist. Instead, he applies the resources of jazz, specifically bebop, to Piazzolla's New Tango music. He plays a few of Piazzolla's compositions, opening them up in various ways, but most of his pieces are originals.

Ziegler's imagination in working jazz into the tango framework is impressive in scope. He builds on the harmonic complexity of Piazzolla's lines, adding the extended harmonies of bebop. He carves out space within the structure of the classic tango, adding long piano excursions at the ends of musical phrases, or free introductions or interludes. And Ziegler reverses the roles of piano and bandoneón: in Piazzolla's quintet the bandoneón was the lead and the piano the rhythmic supporter, while with Ziegler it is the bandoneón that maintains the link with tango's classic rhythms and moods while Ziegler's piano pushes at the boundaries of form.

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PABLO ZIEGLER - CCBB

Pelas graças do amigo e confrade CJUBiano Bené-X - Brasil, caíram-me nas mãos, na última hora mas em horário confortável ainda, dois ingressos que ele tinha conseguido para o recital de Pablo Ziegler e seus dois excepcionais acólitos, para a noite de sábado, no Centro do Rio.

Casa lotada, Teatro III do CCBB, entulhado de mesas numa disposição tal que me fez rezar fervorosamente - e vejam, sou um agnóstico de carteirinha - para que nenhuma fagulha ou faísca ocorresse ali, fora do palco, ou seria o fim, ao som de Piazolla, ao menos. Não entendo como o Corpo de Bombeiros permite aquilo, mas, vamos ao que interessa.

Ziegler, que dispensa apresentações (e quem não o conhece, pode ler uma ótima entrevista sua neste link AQUI) domina com largueza a técnica do piano jazzístico. Suas composições são calcadas no sentimento tristonho e denso do tango novo, como inventado por seu principal mentor e líder por inúmeros anos, Astor Piazolla - que ao final dos anos 60, "expulsou-se" para a Europa, em vista das críticas dos tradicionalistas portenhos. Ziegler, pianista de seu quinteto quando retornou a Buenos Aires, já dava vazão, nas interpretações dos temas de Astor - motivo principal, segundo ele mesmo, de sua contratação - aos improvisos e a um fecundo encontro entre as marcações cadenciadas do tango, principalmente na região mais grave do teclado, às filigranas de tempos e vozes, muito ricas, do bandoneón. Ainda segundo Ziegler, era Piazolla quem o incentivava a "alegrar" as execuções atravpes dos improvisos, que só bem depois ele mesmo adotou.

Na apresentação de ontem, assim como na anterior, no Mistura Fina, há dois anos, esta tarefa esteve a cargo do excepcional Walter Castro, jovem músico que estudou com o grande Nestor Marconi e que domina por completo o instrumento, trocando de andamentos e fôlegos com o líder por telepatia. Os improvisos encadeados de ambos em torno das temáticas sombrias as tornam mais instigantes e ricas e agem como sopros de vitalidade sobre elas, sem perder nada de sua dramaticidade intrínseca.

A arte de ambos é secundada pela segurança e o talento do não menos competente guitarrista Armando de la Vega, cuja biografia o menciona como o Diretor Pedagógico do Instituto Superior de Música Popular, da Sociedade Argentina de Músicos. E que, tocando, é isso tudo aí mesmo. Suas bases foram criativas e integradoras e seu dedilhado, mesmo que bastante sutil no toque, me pareceu (nas raras oportunidades de destaque) extremamente inteligente e instigador, denotando um fervilhar de idéias que poderiam, em outras circunstâncias, ter bem mais espaço.

O belo concerto, que alternou temas de Piazolla e Ziegler, teve Michelangelo 70, Fuga y Misterio, Chin Chin, e Libertango, do primeiro e La Fundición, Blues Porteño, Buenos Aires Report, Milonga del Adiós, Muchacha de Boedo e La Rayuela, de Ziegler, criou uma atmosfera mágica e estimulante, e o bom público presente aplaudiu os artistas de pé, exigindo um bis, que se não me engano, foi o tema Inverno Porteño, de Piazolla.

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When tango meets jazz, impassioned sounds can emerge, as demonstrated Friday night by The Pablo Ziegler Quartet at Orleans Hall.

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Pablo Ziegler Quartet at Jazz Standard with Guest, Harry Allen

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Pablo Ziegler Quartet; Edmar Castaneda

Sometimes what makes a performance so alluring is watching the absolute transformation of the person in front of you, luminous under stage lights and lost in his own world, music filling his ears before sharing it with you, far away in the surrounding darkness. Edmar, with his easy smile, smallish frame, fingers plucking, sliding, silencing his harp strings, cuts the brilliance of his flourishes with resounding quiet. The memory of its sound echoes, while the space fills with a voluminous hush in the split infinite second before the next voice emerges, tantalizing and fragrant.