904 Community Growth - Daniel Diaz, a musician perspective!
Date: Mon, 30 Dec 2002 12:25:25 -0700
From: Daniel Diaz <dan@INTELLINKS.COM>
Subject: Community Growth - Daniel Diaz, a musician perspective!
Dear friends of the passionate Argentine Tango: (those who participated
in the discussion and those that just watch from the side line (as I do
most of the time)
I also watch the dancers from the orchestra stage... I started doing
that at 12!
I really enjoyed reading all of your postings. It really helps me
understand better how to present the music of my orchestra to the
dancers. Great job by Dan, Tom, Rick, Manuel, Korey, and you all. Here
are some opinions and comments from a musicians' perspective. There are
many points to talk about, but I am going to have to leave them for the
time we may be able to get together in one of my visits to your area or
one of our musicality workshops for dancers and musicians.
My interest on the subject is from a musician (bandoneon player)
standpoint and as a director of The Tango Camerata, an ensemble which --
due to the talented musicians it incorporates - plays music which goes
from the candombe (Azabache) to milongas orilleras, tango canyengues,
tangos tipicos, valses and the modern tango and "milongas" of Horacio
Salgan, Marianito Mores, and Astor Piazzolla (Libertango)... And
Chacareras, Chamames, Zambas, etc..
By the way, we do not just play "live music" but the "music which
becomes alive in your heart". Some of you have said to me, that we sound
like a multi-color orchestra, not a definite style. And that's what I
trying to accomplish. I like variety... and I believe so do you, the
dancers. I am looking for what dancers look for. I look for the
communication between our hearts, the musicians' and the dancers'.
As Tom expressed on The Tango Camerata in October 2000: "The music was
absolutely terrific, even for milongueros more used to the 1940s DJ
selections... When it is really working, live music is a "dialogue
between the dancers and the musicians"; This is the energy that Dan Diaz
seeks, and what he means when he says: "We don't play live music, we
play music that comes alive in your heart." That dialog, is what is key
for me.
Like Rick said to Tom: "If you & I could hop in a time machine, go back
into the 30s & dance, what would we experience?" That's the way I try
to do our orchestra sets. I go from candombes, to milongas, to tango
canyengues, tipicos and modern tangos. I usually put two valses per set.
I invite dancers to travel through time!
You don't need to enhance the orchestras of the past with newer
technology, enjoy a present orchestra using the most advanced technology
bringing the music of the Argentine Tango from the 1890 to the
present... The Tango Camerata.
Tom, I truly like this comment of yours: "As a musician, Korey certainly
has the understanding and ability to become part of the orchestra even
when the music is modern." I never thought of that concept, a dancer
becoming part of the orchestra, great!... I guess Brian Dunn (Boulder,
CO), will enjoy that experience even a little bit farther, as he will be
playing guitar with our group. However he said: "Just a few pieces Dan,
I also want to dance!". I wonder how many talented dancers are also
musicians out there? I would like to know.
Regarding dancing to different styles of Argentine tango and "milongas"
I would like to agree with those in the discussion which indicate that
the interpretation of a music through dancing is a personal choice --
after the dancers have mastered the basics of dancing -- which to me it
is to be able to dance synergistically to the rhythm and the melody. I
have seen some of you do that very well!
One detail that perhaps may escape some dancers is that the mentioned
3-3-2, Piazzolla uses, it was and it is also used in the milonga campera
(of the gauchos) which it is derived from the Habanera. So "Libertango",
is really not a tango, but a milonga. I announce that every time I play
that piece and it seems to work fine, even people who don't like
Piazzolla music, dance it fine.
Yes, Tom, there some that do a "different dance altogether" while
dancing Libertango, but those are the same people that do another dance
altogether when we play tango, valses or milongas. No idea of rhythm or
whatever the music is expressing at the time. The majority do very well
on Libertango, at it is my experience on the multiple venues I play in
the USA. In relation to Azabache, it is a totally different spirit and I
see it danced as the candombe it is and then... as a milonga, or some
other dance also!.
By the way, both Azabache and Libertango are included on the bonus
orchestral CD of The Tango Camerata,(Compilacion - which I finally was
able to release on a limited quantity) along with its accompanying CD -
Live at Stanford University, which is more early 1900's music
(bandoneon, guitar and double bass with the voice of Roberto Forte).
E-mail me if you are interested in supporting The Rio Plata Institute
musicality education program by getting the two CD's package. They are
on special for the Tres Reyes Magos celebration! (Three Wise Men)
mailto:dan@intellinks.com
I enjoy playing all music, from the candombe to Piazzolla. We use the
African drum and to the best of my knowledge The Tango Camerata is the
only orchestra in the USA which incorporates the African drum as part of
the ensemble. Dancers love it! I truly enjoy playing for dancers when
there is such appreciation for the music of my country. I am amazed at
your expertise on musicians, orchestras, singers etc. By the way, I have
received great responses from the audience on candombes, typical tangos,
milongas, etc. but the largest applauses ever, even to the point of
everybody stomping on the floor for an encore, was when we play Esqualo,
of Astor Piazzolla, and this was at the Mercury Café in Denver!
Also a comment on Adios Nonino: the best dance performance of Adios
Nonino of Astor Piazzolla I seen, was performed by my dear friend Tom
Stermitz and his partner. I sat at the edge of the stage and watch them
do a marvelous rendition of that great composition. Dancing to the
rhythm, flying along the melody, and... letting their hearts out to the
rest of us. Anyway. A good dancer should be able to dance to any music.
How do you get to be a good dancer? I guess it would take time, as it
take to learn how to play an musical instrument. It is when you don't
have to worry where you put your fingers on the keyboard, when you
become free to express. When I get together with my great camerati and
start playing on the stage, it is like moving into another dimension. I
imagine that it is the same for a dancer, when you forget your feet and
hold you partner in your arms and fly together into another dimension.
And then as Manuel says: " The reason so many beginners or non-dancers
like that music is because they can more easily ignore it and move
around as though they are dancing." I believe that these type of dancers
can dance NEITHER to the D'arienzo, Pugliese, etc. orchestras. And while
on the subject of 2x4, 4x4, 4x8, (3.3.2) How about the vals cruzado?
What would those very traditional Waltz dancers think of it? 4 into 3?
:)
Getting now into the future, jazz insertions into tango and Avantango
(TM), the approach my dear colleague and camerati Pablo Aslan is taking:
I would like to know what the feeling is out there for such incursions
into the leading edge, the avant-garde. Do you believe that given the
interest in the USA for Argentine Tango, would there be a place and time
for such new Argentine tango music to be danced? Some musicians and
groups in Argentina are also experiencing already on it.
Don't worry Manuel, I am not going to abandon the tango of 1900's! So
one day I can come and play for you there. I have much of my heart into.
Ciriaco Ortiz was one of my teachers, Troilo my hero and as such my
mentor. El Gordo even came to listen to this, then 18 years old young
bandoneonist. Tango flows through my veins. I just want to know what the
feelings are out there on the subject of new forms of tango.
I am please to announce that The Tango Camerata will continue now for
its 3rd. consecutive year playing every month at the Mercury Café in
Denver, as well in as many other venues in the USA. Thank you Tom for
introducing me to the great people of Tango Colorado and the super host,
Marilynn Megenity, owner of the Café. Also, we will be again playing at
the MetaTango Festival in Houston (April 4-5, 2003) We have also been
selected by the State of Utah Art Council to tour from July 2003-Jun
2004 season for many performances in Utah where we will present our
multimedia event, Tango Times (TM) a narrated history of the Argentine
tango from the candombe to Piazzolla with music, songs and dance.
Through The Rio Plata Institute, Pablo Aslan and myself will continue to
teach musicality classes for dancers and musicians. The latter being a
good way to get your own orchestra in your area! If you are a milonga
organizer, please contact me as to how to increase the numbers of you
Argentine Tango community through our new institute programs.
I would like to wish all a Happy and Prosperous 2003!!! Keep on dancing
tango!
With the most heart felt chords from my bandoneon! You can listen to it
by visiting my Web site indicated below.
Daniel
Daniel Diaz
The Rio Plata Institute
P.O. Box 970565
Orem, UT 84097-0565
Phone: 801-420-3179
Web site https://www.intellinks.com/rioplata
E-mail mailto:dan@intellinks.com
