Sunday, December 2nd â€“ 4:30 to 6:30 p.m.
which way west? Sunday concert series.
No cover charge, but your donations help us
pay the band!Â All ages welcome.
Carlos Suarez, a dear friend of Bird & Beckett (who spoke eloquently of Jorge Luis Borges at the shop the afternoon of November 18), wrote the following for his friends in Tango No. 9 on the occasion ofÂ the release of their first CD, â€œAll Them Cats in Recoletaâ€,Â back in 2001 as this divine band began to find its way into the musicâ€¦Â perhaps it explains something for usâ€¦
El Jazz, The Tango
by Carlos SuarezÂ
I am asked quite often â€“ and I donâ€™t like it â€“ since I am Argentinian and apparently such coincidence makes me an expert, â€œYeah, butâ€¦ They donâ€™t play the real thing. Do they, Carlos?â€
Apparently, the real thing is some kind of special elusive thing culturally bonded to our â€œhearts.â€ Some sort of solid and unyielding thing, monolithic and impervious to evolutionary or transcultural bugs. Such conservatism kept Piazzolla away from us during my youth. The people and the new tango were in different gene poolsâ€¦ Like management and labor? Traditions, some call it.
I think that in these days of a globalism so many of us despise enthusiastically, instead of asking or expecting what is â€œthe real thingâ€ in our cultures, we could do better by letting our definition of reality stretch a bit. Here and in Buenos Airesâ€¦ the name of all our nostalgia.
Jazz and Tango? But of course! Both had the uncertain origins of any other cultural hero; historically vague, suspicious, perhaps with very few recorded concrete and hard facts about itâ€¦ Born of dubious or suspicious parentage, a hidden identity, persecuted and barely saved from extinction, a reluctant leaderâ€¦ Tango and Jazz were created in discredited places; colonies, ghettos, among the humble, the outcast and the marginalized.
It happened near Congo Square in New Orleans â€“ which later became a parking lot and now is an atrocious apartment building â€“ and in the poor suburbs of Buenos Aires â€“ still there â€“ among the poor immigrants from Europe or the children of people kidnapped from Africa. In a world of whorehouses and little bars, of delinquency and povertyâ€¦ perfect places for miracles.
Both stories are one and the same. Only some details are differentâ€¦ Instruments sold very cheap after the bands of the Confederate regiments were dissembled, or the bandoneon that some hypothetical and drunk German sailor exchanged for drinks in some bar near Buenos Aires harborâ€¦ Who knows? The fog of the beginning is thick and somehow we are grateful for it because of those uncertainties we nurture our fantasies and dreams.
Both were forbidden in their birthplaces. Both had to go underground. Jazz migrated North. Tango was finally accepted because the slumming upper crust liked it, in spite of being â€œcosa de negrosâ€â€¦â€Niggerâ€™s stuffâ€. And both have men and women of mythological statures whose names are safe-conducts, words of salutation and welcome, identifying a certain lifestyle, a specific group, a nation, a flagless empire of sounds and feelings, a language, a culture.
From the harbor and the southern suburbs of muddy streets and tin roof houses to the heart of Buenos Aires; from the damp and sweaty nights of New Orleans to Chicago our music migrated and in the process changed, dropped some of its instrumental luggage and acquired a new one.
Jazz lost its tuba and the banjo and Tango let go of the flute and the drums that somehow started the whole thing in the â€œcandombeâ€ that begot the â€œmilongaâ€ that mixed with immigrant sounds begot the tangoâ€¦ and both music, jazz and tango, got acquainted with the temporary immortality of the first recordings. The firsts â€œrace recordsâ€ and that Original Dixieland Jazz Band and the music of a man who gave his nickname to the operation of buying a tango recording: â€œA kilo of sirloin, a bottle of house red, French bread and two Pachos.â€ â€¦ The tangos of Juan Maglio, nicknamed â€œPachoâ€ in old 78rpm discs.
Visit Tango No. 9’s site for the latest take on a band that evolves just as has the music from which it draws its inspiration… click here
Our events are put on under the umbrella of the nonprofit Bird & Beckett Cultural Legacy Project (the "BBCLP"). That's how we fund our ambitious schedule of 300 or so concerts and literary events every year.
The BBCLP is a 501(c)(3) non-profit...
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Gigging musicians! You have nothing to lose but your lack of a collective voice to achieve fair wages for your work!
The IMA can be a conduit for you, if you join in to make it work.
Read more here - Andy Gilbert's Feb 25 article about the IMA from KQED's site