Tango Siempre
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Tango Siempre


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"Tango Siempre with Paolo Russo: Only Human"

British tango experts Tango Siempre rarely play it safe. Each album has fresh challenges
and different collaborators. Only Human features Italian bandoneón player Paolo Russo, and core players Jonathan Taylor (who writes most of the material), bassist
Richard Pryce and violinist Ros Stephen are augmented by London jazz drummer Milo Fell. Drums are an unconventional choice for nuevo tango, but Fell is at home among
Tango Siempre's hybrid treatments, whether adding clattering decoration to Russo's Il Segreto, subtle pulsing to Milonga Polirrítmica or electronic beats to Belo Horizonte and Pete Rosser's Dance of Death. The inspiration, as always, is the late Astor Piazzolla,
whose recorded voice (from a 1989 radio interview) is combined with Russo's solo bandoneón on two tracks. But it's Taylor's mature compositional voice, together with the group's elegant flair for tango, that makes this an engaging and pleasurable listen on every level. - John L Walters: The Guardian

"Tango Siempre: Ony Human"

The London-based group is firmly rooted in Argentinean composer Astor Piazzolla's "tango-nuevo" and duly delivers the sweet-and-sour melodies and rousing-but-stately rhythms of the genre. But though authentic, the progamme of originals. mostly by pianist/leader Jonathan Taylor, are neither retread nor pastiche, and have an original take on this most seductive of music. jazz drummer Milo Fell is a natural addition, while the leader's Fender Rhodes pushes parameters.
- Mike Hobart: Financial Times

"Tang Siempre: Only Human"

There's always been a touch of the academy about Tango Siempre, but then the same could be said about their great idol, Astor Piazolla, who took the tango out of the bordello and into the concert hall with this fantastically elaborate compositions. What a difference a drummer makes! Especially a drummer as good as new recruit Milo Fell, who energises the group with his instinctive, detailed approach, even injecting some trip-hop rhythms into Dance of Death. The results are tougher - dig Ros Stephen's blisterung electric violin on Straw Dogs - and more open. Paulo Russo still dominates, but his finger- busting bandoneon has never been more mercurial or sensitive to inflection, and that's down to Milo - Al Brownlee:The Manchester Evening News

"Tango Siempre: Only Human"

Reválida aprobada con bien alto (o notable bajo). Con su excelente trabajo anterior, Tangents (2007), demostraron que se podía hacer tango instrumental de nueva creación y sin necesidad de abonarse a la electrónica o de parecer un “revival” estudiantil de Piazzolla. Bastaba con rociarlo de
nuevas latitudes geográficas. Claro que contaron con ayudas tan gordas como Steve Argüelles y Gilad Atzmon, y eso acabó notándose mucho (de hecho hasta parecía que también cofirmaban el disco, o lo hacían de verdad). Los de Bristol esta vez se han quedado solos. O casi, porque en la
EFE EME : contraportada del disco bromean con un tal Milo Fell: “Hey, ¿qué hace un batería de jazz en un disco de tango?”. A lo que el otro contesta: “Creo que simplemente me han tirado por aquí”. Por supuesto también se nota (aunque sobran un par de bases sintéticas en algunos momentos). El grupo –cuyo núcleo central parece haber
quedado reducido a Jonathan Taylor (piano) y Ros Stephen (violín)– cuenta esta vez
con un bandoneón de verdad (Paolo Russo), ya que hasta el momento Pete Rosser tocaba el acordeón, no el bandoneón. Y mantienen el contrabajo acústico (aunque ya no el del gran Yaron Stavi, que ha sido reemplazado por Richard Pryce). Sin faltar a esa melancolía que ya resulta obligatoria para que fluya cierto duende tanguero, sus mejores piezas son las que llevan una estructura de jazz casi modal,
con entradas y salidas a la melodía principal (“Milonga polirrítmica”, por supuesto). Es música que levanta el vuelo con facilidad, que goza de buenas hechuras y permite pensar que, en el fondo, en un formato de creación libre e improvisatoria,
todavía puede correr mucho hechizo. - Gernot Dudda: Efe Eme

"Tango Siempre: Only Human"

Gleich in der Anfangssequenz wird mit einem einsamen Bandondeon alles geklärt - wir haben es hier tatsächlich mit Tango zu tun. Und zwar mit dem Nuevo Tango zu tun, den Astor Piazolla einst kreierte. Diesen spielt Englands führende Tangoband Tango Siempre mit beispielloser Hingabe und einem einzigartigen Temperament. Dass diese Art des Tangos aufgrund ihrer vielen Querverweise in Richtung Jazz nicht unbedingt tanzbar ist, mussten schon viele Tänzer, die sich an diesem Stil versichten, feststellen. Dafür ist auch "Only Human" voller Leidenschaften, schmerzhafter Tragödien und wehmütiger Melodien. In der Besetzung Piano, Kontrabass, Violine, Drums und natürlich dem Bandoneon machen sich Tango Siempre selbst ein ganz spezielles Bild vom Nuevo Tango, das sin Stilleben wie "Milonga Polirrimica" und auch "Il Segreto" zu Leben erweckt wird. - Melodie und Rhythmus


Tangled, 2004
Tangents, Galileo Music, 2006, GMC024
Only Human, Galileo Music, 2008, GMC031



Jonathan Taylor (Piano and Composition)
In 1994 Jonathan was one of the first jazz musicians to be accepted onto Yehudi Menuhin’s Live Music Now! scheme for whom he gave concerts and ran workshops across the UK. Over the next 5 years he performed with his own group What Four and jazz orchestra Ultrasound at the Purcell Rooms in London and major festivals including Brecon Jazz, Bath Festival, Glastonbury and Getxco International Jazz Festival in Spain, and recorded CDs with both groups. During this time he also worked on many shows for the Bristol Old Vic Theatre as musical director/pianist, including several with soul artist Ruby Turner. His writing commissions include two collaborations with award-winning choreographer Yael Flexer and the New Technology Commission in 1999 from Birmingham Jazz resulting in a project entitled Synergy combining live improvisation with popular dance music grooves and sampling. This was performed at Cheltenham Jazz Festival 2000 alongside the Courtney Pine Group.
Jonathan has since worked with most of the UK’s leading jazz artists including Andy Sheppard, Tim Garland and Iain Ballamy, US artists such as Pee Wee Ellis (who he regularly performs with) and Michael Hashim, and in 2002 recorded an album of his own compositions with flautist Eddie Parker. In 1996 he toured with Matthew Bourne’s production of Edward Scissorhands. He has recently taken up a teaching post at the Guildhall School of Music & Drama and is a jazz examiner for the Associated Board.

Richard Pryce (Bass)
Richard Pryce was awarded a scholarship to study at the Royal College where he won the Eugene Croft Solo Double-Bass Prize, and went on to do the post-graduate Jazz course at the Guildhall School of Music. Since then he has been in demand as classical, studio and jazz musician. Bands Richard has played with include The Dixie Chicks, Nitin Sawney and The Philharmonia at venues ranging from Ronnie Scots' to The Royal Opera House.

Milo Fell (Drums and Electronics)
Milo began his career in Manchester in the early nineties, playing with local bands including John Ellis` Big Bang, Rare Birds, The Future Shock, Clark/Thorne/Fell and Jon Thorne`s Oedipus Complex as well as many of the country`s top frontline players on pick up gigs. Since moving to London in 1999 he has gigged and recorded with Tim Whitehead, Patrick Naylor, Andrew Coleman, David Beebee, Karen Lane, The Homemade Orchestra, Tony Woods, The Cinematic Orchestra, Freefall and Dutch group Dalgoo with whom he has toured in Russia, Poland, Germany, Belgum and Holland. Milo has taught drums in primary and secondary schools and has been a co-tutor in jazz workshops with adults.

Ros Stephen (Violin)
Ros studied for a degree and PhD at Bristol University which she completed in 1998. In addition to her work with Tango Siempre, Ros has performed with groups such as the Rosetta Ensemble (string quartet), the Stephen-Tempest duo (violin/cello), Ixion Ensemble (contemporary classical), Enrosque (violin/accordion), the Bath Pump Room Trio, the Emerald Ensemble, the London Mozart Players, Bristol Old Vic, Shivanova, Theatre Alibi and Homespun. Ros also leads the Sigamos String Quartet which is currently touring with Gilad Atzmon's 'Gilad + Strings' project. Other work has included recording music for theatre productions, live recordings for BBC Radio 4, arranging and performing music for numerous pop sessions, and orchestration.

Paolo Russo (Bandoneon)
Paolo started to play the piano at the age of 9. After studying architecture for 5 years, Paolo dedicated himself completely to music. He is educated both in classical music (Conservatorio L. D'Annunzio, Pescara, 1993) and in rhythmic music (Rhythmic Music Conservatory, Copenhagen, 2002). In the past 12 years, he has performed professionally throughout Europe, in Argentina, Japan and Russia. He has also studied music in New York with Richie Beirach and in Buenos Aires with Néstor Marconi. In 2003, he founded the acoustic trio "Band Au Neon", whose first album "Oltretango" was released in June 2005. His first album, "Alchemy" ("Splasch" - Feb 2004), was nominated among the best 5 Danish albums of the year 2004. Since 1996, he has collaborated with international artists, including Jon Balke, Gianluigi Trovesi, Pablo Ziegler, Caroline Henderson, Howe Gelb, Stefano Bollani, Paolo Fresu, Nico Gori, Marie Bergman, Arild Andersen, Danny Gottlieb, Palle Danielsson, Line Kruse, Andrea Marcelli, Thomas Clausen, Robertinho Silva, and Marilyn Mazur. In 2001 Paolo discovered the bandoneòn, which has become crucial in his productions and live performances. In 2002 he was the main subject for the documentary film "The illogical instrument", directed by Arun Sharma. He realized soundtracks for the movies "See you in the future" and "Polizzi, my little Brooklyn". He plays currently with his trio Band Au Neon, with Thomas Clausen's New Sextet, with Tango Siempre and with the RUSSO/BOLLANI/FRESU TRIO.