On This Sampler, It Takes the Old and New to Tango

With the recent rise in popularity of Cuban salsa and rock en espan~ol in the American mainstream, it’s only natural that other styles of Latin music should enjoy a resurgence as well.

Tango, that most mysterious, evocative and grossly misunderstood of genres, is no exception. The market is flooded with all sorts of compilations attempting to encapsulate the multifaceted spirit of tango on one disc, as well as rereleases of recordings by the classic orchestras of the ‘30s and ‘40s.

“The availability of tango releases in this country has increased tremendously,” notes Carlos G. Groppa, editor of Tango Reporter, a monthly magazine published in Los Angeles that is one of the world’s most authoritative sources on the subject.

“The tango section at places like Tower Records or Virgin has grown to the point where you have about a thousand discs to choose from. A few years ago, you couldn’t find 10.”

Musically, tango is a hybrid of Italian songs, African percussion, Spanish flamenco and Cuban habaneras. Emotionally, it’s a snapshot of the gray ambience of Buenos Aires as created by nostalgic European immigrants in the city’s harbors.

Originally, tango was associated with Buenos Aires bordellos. As soon as it became a dance rage in the salons of Paris in the ‘20s, however, it was dutifully accepted by the Argentine upper class, and since then it has become an intrinsic part of the Argentine identity.

In America, tango was distorted by Hollywood movies, was popularized in its instrumental form only, and was associated with burlesque and machismo. In reality, tango is all about the sadness of the immigrant, a state of mind that can find a notable parallel in the Latino population of the United States.

Of the recent wave of samplers, the newly released “Rough Guide to Tango” (World Music Network) is certainly the one to get. Not only does it boast sonic quality superior to its competitors, but it also combines old and new names with unusual taste.

The compilation includes “Caminito,” the melancholy masterpiece of tango as interpreted by tango legend Carlos Gardel. And Astor Piazzolla, who revolutionized tango by mixing it with jazz and his formal classical influences, is represented with two tracks taken from a radio appearance.

“It’s an excellent compilation,” Tango Reporter’s Groppa says. “There’s a version of ‘El Ultimo Guapo’ in there by Alfredo Belusi that is simply unsurpassable. Not even Carlos Gardel could sing that tune like him.”

Spanning the decades from the ‘30s to the ‘90s, the British-made “Rough Guide” culls all of its material from Melopea, an Argentine label created and managed by Litto Nebbia, one of the grandfathers of rock en espan~ol and a huge tango buff.

Nebbia’s ear for the continuation of the genre in a modern context becomes apparent with his own “Aguafuertes Porteas,” the opening track of the disc, and the presence of Adriana Varela on two selections. Varela has become the new diva of tango, thanks to a sandy voice that extends the tradition of the female tango vocalist as a tough, tragic figure.

For a thorough appreciation of the golden age of tango, a series of 12 discs devoted to the genre’s best orchestras of the past has just been released by Spain’s Blue Moon and distributed in the U.S. by FTC Records. Included in the series, “Las Grandes Orquestas del Tango,” are indispensable figures from the heyday of tango such as Anibal Troilo, Osvaldo Pugliese, Roberto Firpo and even a young Piazzolla, in his tradition-anchored days before he angered the conservative tangueros by straying from the roots.

The tango on these volumes is less moody and abstract, its vision less sweeping than more contemporary tango. The rhythm is more pulsating, and the melodies are played with clarity and verve. These are the tangos (many of them instrumental) that will delight the old-fashioned listener. For a more seductive and intriguing sound, though, the newer releases as included on the “Rough Guide” compilation are more recommended.

Album Spotlight

*** Mongo Santamaria, “Skin on Skin: The Mongo Santamaria Anthology,” Rhino. Fate had it that while Tito Puente became the most famous Latin percussionist in the world, conguero Santamaria remained in commercial obscurity for most of his 40-year career, even though his artistry is the equal of his rival’s. Santamaria has influenced scores of Latin jazz and salsa musicians, and composed such timeless gems as the lilting “Afro Blue.” This comprehensive two-disc collection includes amazingly pure Afro-Cuban music that he recorded between 1958 and 1995. There’s a little bit of everything, including traditional chants for voices and percussion, boleros, fiery Latin jazz and a hilarious number with outrageous vocalist La Lupe. The package is complemented by excellent liner notes, including a heartwarming personal remembrance by Santamaria fanatic and apprentice Poncho Sanchez.

*** 1/2 Various artists, “Cuba,” Putumayo. Finally, a sampler of Cuban music that gets it right, mainly because the sonic harmony of the whole package determined the selections. The idea here was to deliver an impression of what Cuban music sounds and feels like. Pleasures abound, from the sophisticated charanga of Orquesta Sublime to a percolating jam session by the Afro Cuban Project that includes Orlando Maraca on flute and Barbarito Torres on lute. Also present: Buena Vista alum Ibrahim Ferrer, son pioneers Septeto Nacional de Ignacio Pieiro, and the mind-bogglingly inventive group Irakere. The sequencing of the songs leaves almost no space between them, making the disc into an hourlong, nonstop party.

*** Rosana, “Luna Nueva,” Universal. Call her the Latina Tracy Chapman. On her second album, the Spanish singer-songwriter explores a variety of styles that combine the joyful with the contemplative. From the hyper-romantic “Contigo,” in which she promises to share every detail of life with her lover (“All of the salt/The sugar/The wine/A lifetime”) to “El Dia Que Se Hizo Tarde,” a self-penned ranchera that sounds like vintage Jose Alfredo Jimenez, Rosana glides playfully through the conventions of Latin American music. But even her softest songs are likely to sting you with their thorny lyrics. Ricky Martin fans, beware. This is what real Latin pop sounds like.

*

Albums are rated on a scale of one star (poor), two stars (fair), three stars (good) and four stars (excellent). The albums are already released unless otherwise noted.