Dance - Related Music Performance
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Ray and Frank Liquors
706 9th Avenue
New York, NY 10019
212-489-2029
Free Delivery, Fine Wines, Champagnes, Scotch, Saki, Cognacs...Ask for Gladys
Los Changos
Los Changos
Featuring: Julio A. Santill·n - Guitar and Composition
Yulia Musayelyan - Flute
David Hodges - BandoneŪn
Felipe Salles - Clarinet
Franco Pinna - Drums
Marta GŪmez - Voice
Fernando Huergo - Bass
At
Satalla
www.satalla.com
37 West 26th Street
NY, NY
212.576.1155
Dr. Roberta E. Zlokower
November 28, 2004
Program: (The Related Dance in Parenthesis)
Nanina (Tango)
La Huella (Chacarera)
Anit (Vals)
Ushuaia
Tristeza (Zamba)
Cochuna (Milonga)
Cintia
El Bosque de la Memoria
Gustavo
El Tata
Cantor Legøero (Vidala)
El Bailarin de Los Montes (Gato)
Tonight's set at Satalla, toward the end of Thanksgiving Weekend, was worth the trip. Los Changos is an upbeat, warm, and vibrant group of young musicians, who interweave Argentinean culture and music in original compositions and arrangements (even in recognition of relatives) to all forms of Argentinean dance (Tango, Milonga, Chacarera, Vals, and even Modern Ballet). Julio Santill·n, the group's leader, uses his musicians in a variety of eclectic and versatile works, with introductions to the audience, relating to the composition, whether personal or geographical. Marta GŪmez, vocalist, sings as if she were an instrument, with an international, abstract sound, blended to mood and music.
The first piece, infused with Tango, included contemporary vocalizations and was dedicated to Mr. Santill·n's mother. Chacarera folk dance emanates from the North of Argentina, and La Huella leaned heavily on the flute for lyrical rhythm. The next piece, about political anti-violence, featured David Hodges on bandoneŪn in a lovely and lilting melody, and Ms. Gomez continued her repetitive, abstract vocalizations. Ushuaia, geographically introduced, ends with an evocative bandoneon, in windy, whispery, wandering notes. The Zamba (Samba) was sad, melancholy, and Brazilian in style.
Cochuna relates to a river in Argentina, and its Milonga rhythm (a rapid Tango) is contemporary with staccato flute effects. Franco Pinna's drums were powerful here, and the entire ensemble was effervescent. Julio Santill·n led a three-part future ballet, intended for choreography, sung in Spanish by Ms. GŪmez. I preferred her vocals in Spanish, as there was too much reliance on abstract vocalizations in other works. The first portion of the ballet, Cintia, relied on Mr. Hodges' bandoneon, Mr. Salles' clarinet, and Ms. Musayelyan's flute. Mr. Santill·n composed this work, which he conducted. Portions of the work were reminiscent of Philip Glass' six-note segments, although here they were in two or three-note segments. Gustavo, for Mr. Santill·n's uncle, fused with flute, was quite mellifluous. Another folk work was dedicated to Mr. Santill·n's grandfather.
An additional Samba was presented, dedicated to a dying Argentinean composer. Mr. Santill·n's guitar was soft and sensitive, and Ms. GŪmez sang the lyrics in Spanish. Mr. Hodges added a small passage, and I realized that he and his bandoneŪn were all too hidden in tonight's concert. The bandoneŪn is intrinsic to Argentinean culture and dance music, and there was all too little bandoneŪn heard at Satalla tonight. The encore piece, a Tango, did happily include the bandoneŪn, and the entire ensemble joined Mr. Santill·n's lead.
Julio Santill·n has a good concept and some excellent music for concerts and potentially for dance, more performance than social. Perhaps his dream of a ballet score will materialize in the near future. One final note: Mr. Huergo, on bass, did not seem to be featured, but his performance was remarkable and relevant to the strength of this concert.
Los Changos at Satalla
Photo courtesy of Roberta Zlokower
Los Changos at Satalla
Photo courtesy of Roberta Zlokower
Los Changos at Satalla
Photo courtesy of Roberta Zlokower
