Cuarteto Rotterdam: Yunta de Oro

"Beautiful classical tangos are not beautiful classical tangos for nothing. Therefore, we just have to play them (again)." This is what the Cuarteto Rotterdam must have thought when they started recording Yunta de Oro. The Golden Yoke that every tango musician wears depicts the important legacy from the 30s and 40s: Melodies that "everyone" knows. Therefore, as a musician you have to figure out how to turn them into something new and exciting. Cuarteto Rotterdam put forth a courageous and mainly successful effort.
When listening to the full arrangements it sounds like more than four musicians are playing. A lot happens and you always discover something new, even after hearing the piece several times. In particular the counter melody piano part by Judy Ruks and vibrant bass parts played by Frances Dorling (and the excellent German production) are also a factor. The music sounds free-spirited and spontaneous at the same time, as if it were recorded all at once in the middle of the afternoon. This particularly holds true for the more upbeat numbers and the older tangos such as Desde el Alma, Bordoneo Y 900 and Canaro en París whereby the famous walk turns out to be a very complex performance. Other classic pieces maintain their very classic character. Bahía Blanca and Morena are very solid, but do not add a lot to the famous old versions. The more modern Escualo is a big improvement with its make-over by DJ Eniless (even though it still leaves a lot to be desired).
However, this CD is not only shining gold. The new tango that Cuarteto Rotterdam performs misses the flow of the CD and particularly Piazzolla's Tristezas de un Doble A thumps along for 10.28 endless minutes like an old West Frisian farmer through knee deep mud.
Oh well, at least there is a skip button on the CD player for that kind of music. Cuarteto Rotterdam shows us that it is still possible to give an innovative twist today when playing the heavy music from yesteryear.

Willem Lammerink
La Cadena, November 2007

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