An Argentine Tango Orchestra in Upstate New York

An Argentine Tango Orchestra in Upstate New York

In the summer of 2015 I attended a concert in Berkeley, CA, given by a young and fairly unknown tango group from Buenos Aires, Orquesta Victoria. The music they performed that night at Berkeley’s well-known performance venue, Freight and Salvage, struck me as unusual and fascinating. It had a strong message and was delivered with the kind of verve that comes from deep down inside. It was not your usual Argentine tango music. There were a few performances by local professional dancers, but their dancing just underlined the message of the music and was almost a distraction from the band’s performance. The orchestra had just arrived from Argentina on their first tour in the USA to promote an album that they had recorded by San Francisco composer, Debora Simcovich.

Simcovich herself is from Argentina, having barely escaped her home country shortly before the 1976 military coup which lead to a dictatorship that lasted until 1983. Recently she connected with this young group from Buenos Aires which plays the music that people of her generation were either not able to play or not interested in playing. Earlier this summer I became interested in Simcovich’s background and interviewed her. What I learned about her story – of being an Argentinian composer with a Jewish background and now living in San Francisco – was so captivating that we ended up talking for four hours. Needless to say, only a fraction of what I learned that evening made it into my blog: https://andreastangosite.com/2016/06/30/music-with-a-punch/.

She told me that the orchestra was in the middle of recording her second album, El Mundo is the World, and that they would return for another tour on the West Coast to promote this new album in November. When I learned later that the band was actually arriving in New York first, and spending a few days there before the major part of their tour began in California, I innocently asked if they were interested in performing in Upstate New York. Their immediate reply was “Yes!” I quickly discussed the possibility of extra performances with my partner and we agreed to look for some New York venues. The National Museum of Dance in Saratoga Springs was quick to host a concert this coming Friday, November 4. Equally keen was the Bearsville Theater in Woodstock, where the group will perform the following evening, on November 5. Since there is a widespread tango community in the Hudson Valley, we figured there would be enough people interested in the rare opportunity to hear a young and authentic twelve-piece orchestra from Buenos Aires. We certainly hope that enough people with an interest in Argentine tango music delivering a strong social and political message will come and listen to what is going to be predominantly a concert, but which will also offer the opportunity to dance.

It’s been a lot of work getting the word out and organizing the upcoming two concerts. Communicating with the group, which is based in Buenos Aires, hasn’t always been easy. But I finally managed to reach the orchestra’s founder and manager, Ezequiel ‘Cheche’ Ordóñez (who by the way is the grandson of chess grandmaster, Miguel Najdorf), and attempted to conduct an interview with him first by Skype and then by phone. Unfortunately, the connection between Woodstock and Buenos Aires was so bad that we could barely hear each other and we finally gave up, agreeing that I would send him my questions by email—  to which he then responded in writing.

Here is what he said:

AB: How did you discover tango for yourself?

EO: Like most young musicians in Argentina I first discovered tango through Astor Piazzolla, and then through Roberto Goyeneche, Ánibal Troilo, and Horacio Salgan.
AB: What is your actual musical background?

EO: As a youth I studied classic piano, then in secondary school I studied conducting, and then began my career working as a tango pianist. About ten years ago I began to teach myself bandoneon.

AB: How did you get the idea to form an orchestra?

EO: Like Alejandro Drago (our pianist and arranger) I had a quartet, and we both needed to find a more orchestral sound, above all with more strings.

AB: How do you select your pieces?

EO: In general it depends on the particular project we’re involved with, but we always try to keep the compositions and arrangements in line with the orchestra’s identity.

AB: What is most challenging about managing a 12-piece orchestra?

EO: Everything, hahaha! Transportation, lodging, hospitality — everything is difficult and expensive, hahaha!

AB: Have the members changed overtime?

EO: Yes, six of us have remained the same since the beginning but the rest have changed.

AB: What kind of tango do you personally prefer (traditional/modern)?

EO: Mmmm, traditional, but with more modern arrangements, but still respecting the basic tango style, above all the rhythm.

AB: Tell me how you met Debora Simcovich and how your relationship has evolved?

EO: She heard us in Bs. As. at our milonga at Café Vinilo and suggested we record her music. We listened to her work and it seemed very interesting. From there we became good friends and now we’re presenting a second album of her music.

AB: Aside from Debora’s compositions, have you recorded other tango music?

EO: Yes, a lot. The orchestra already has three other albums of traditional material as well as our own works.

AB: What is it like to perform for a concert audience versus a dance audience?

EO: It’s very different. For a concert we choose a repertoire suitable for the room, for a milonga we pay more attention to rhythm and danceable numbers.
AB: What are your expectations for the upcoming US tour?

EO: The truth is that fortunately this is already the second time we’re coming. Last year everything was marvelous: the theaters, the production, the people, everything. We’re hoping this year will be the same and we’ll be able to return many more times. I hope it works out.

Orquesta Victoria performs at the National Museum of Dance in Saratoga Springs this coming Friday, November 4, at 7:30 pm. Tickets are $20 and can be purchased in advance at http://www.brownpapertickets.com/event/2667881

More information about the event at the Dance Museum can be found at:

https://www.evensi.us/orquesta-victoria-at-the-national-museum-of-dance-national/187993126

Orquesta Victoria performs at the Bearsville Theater in Woodstock the following evening, Saturday, November 5, at 8 pm. Tickets are $20 in advance and $25 at the door. Advance tickets can be purchased at http://www.ticketmaster.com/event/000051354C12D993

More information about the concert at the Bearsville Theater can be found here: http://www.bearsvilletheater.com/events-calendar/orquesta-victoria

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Music with a punch

Music with a punch

Most people associate tango music with a form of dance. That’s not necessarily so. Tango music can be a pure musical pleasure, an exciting listening experience, but hard to dance to.

Take for example Débora Simcovich’s compositions. If you happened to catch one of her concerts last summer in the Bay Area, performed by the acclaimed Orquesta Victoria from Buenos Aires, you will have noticed that a lot of her songs were not very danceable. They do not speak of love and broken hearts — in contrast to most of the popular tango music that we hear at dance halls and clubs, usually from a male perspective and delivered by a male singer. In her music she speaks of her own reflections on life, and she addresses issues of social or political nature. “My music has content,” she says. Her focus is on the message and she delivers it with a punch — a skill which she learned in her younger years by writing jingles for ad agencies — and she delivers the punch regardless of whether the music is danceable or not. So it’s not surprising that Simcovich’s tango music is more popular among classical concert audiences than in the world of dancers.

In Se te va la costumbre, one of her early compositions and the opening song of her 2015 album, La media cuadra inmortal, for instance, she talks about how people are getting used to being oppressed without realizing it. The song is basically a reflection of her own observations during the military dictatorship in Argentina when superficially life seemed to remain the same while political oppression and injustice destroyed the country and its people’s lives with Nazi-like methods.

The song was written more than three decades ago, but ever since she has continued to address political issues in her tango music. Listen for example to one of her latest compositions, Alberto, in which she tackles yet another controversial topic. The song is dedicated to Alberto Nisman, the Argentinian federal prosecutor who was killed in January 2015 while investigating the bombing case of the Asociación Mutual Israelita Argentina, the equivalent of the Jewish Federation in the US and umbrella organization of all the Jewish institutions in Argentina, back in 1994. The topic is highly controversial not just in Argentina. Simcovich dedicated her piece only later to Nisman, when she realized it was really about him, and then added the lyrics. Her musical composition was praised by its own merits by Orquesta Victoria, who recently recorded Alberto at a studio in Buenos Aires as part of Simcovich’s new album, El Mundo is the World. They felt it was a very powerful composition which stands by itself musically and conveys the tragedy that inspired it – so powerful that the musicians even preferred to leave out the lyrics. The tango with the lyrics, however, will be performed during the upcoming tour in November in the United States on a promotional tour for the album. Aside from ten of her original compositions, the new album also contains two classics from the 1930es which Simcovich completely recreated; she even translated the lyrics into English.

 

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Composer Débora Simcovich

This will be the second time that Orquesta Victoria releases an album with tango music written by Débora Simcovich. This group of twelve young, energetic, and classically trained musicians seems to have a magical connection with the Buenos Aires-born composer. She discovered the orchestra by chance one night a few years ago when helping a stranger to find her way on a visit to her native city. “There I stood suddenly,” she recalls, “listening to these young people playing tango! They were the same age that I was when I had to leave Argentina. And now they could play the music that at the time we didn’t play because people my age just were not interested in it.” It was an emotional moment for her.

But even deeper connections came to light during the following days: The orchestra’s leader, Ezequiel “Cheche” Ordoñez, turned out to be the nephew of one of Simcovich’s childhood friends — a daughter of celebrated chess grandmaster Miguel Najdorf. As a child, Débora frequently went to the Najdorf house to do her homework and to play with both daughters. On these occasions her father would see the famous chess player. Both men shared the same roots: both were Jewish and both had left their Polish home country.

She calls it intuition. “Everything in my life is intuition,” she says. “I’ve always followed my intuitions, in my compositions as well as in my life.”

She recalls how she started composing music when she was only six or seven years old and how, at the time, being too young to read or notate music, she intuitively composed in her head and then played it on her guitar and sang. That’s pretty much the way she has been doing it ever since: “I’ve always been an intuitive composer.” Then poetry entered her life. During her high school years she enrolled in playwright classes and began writing poems. But it was not until one of her early mentors, a producer at RCA records, encouraged her to ‘put music into her poetry’, that she actually started to compose her own music for her poems. Now when she composes, she says: “The music and the lyrics come together at once.”

In doing so, Débora Simcovich faces several major issues: Firstly, she is a female composer in a macho world where women traditionally don’t have a voice; they are being talked about, sung about, and they are the subject of almost every song in Argentine tango. Women dance and sing tango, but women, at least in the early days, did not write tango — and this stigma still prevails. Secondly, Simcovich is a Jewish woman in a society where anti-Semitism is still widely predominant (see the above-mentioned bombing of the AMIA), which is quite bizarre especially in the world of tango where many of the early tango musicians were Jewish immigrants from Eastern Europe. They had received their classical musical training in countries like Russia and Poland and had a great influence on the tango music of their new home country, Argentina. And finally: “People want to listen to the music that they already know,” says Simcovich. Meaning that people are not really open to new forms of Argentine tango, such as her own compositions.

 

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Buenos Aires-based Orquesta Victoria: on tour in the US again with new music by Débora Simcovich in November 2016

 

 

Still, that doesn’t stop her from doing what she feels is her responsibility as an artist. She recalls her humble beginnings as a ‘cultural ambassador’ of Argentina, touring US colleges and universities with her own tango compositions. She had saved about fifty pieces of her own work and took them with her when she left Argentina hastily on a military plane, two weeks before the military officially took over. The bizarre story of her narrow escape was a result of yet another intuitive action of hers: she had claimed to be the niece of a high-ranking officer with a mission to tour Latin America with her tango compositions. It worked. They flew her to El Salvador the following day and she gave her first concert at the Argentinian Embassy. Then she indeed was on a tango tour through several countries, sponsored by university and other cultural programs, and eventually ended up in the United States. But she soon got bored and felt misunderstood by her audiences: “People outside Argentina didn’t really understand tango,” she says. She stopped and turned towards a different career. But when, a few years later, she was asked to perform one of her songs with Dr. Loco* at a Peña, a gathering of musicians in San Francisco’s Mission District, she received such an overwhelming response that she knew: “People need it and you have to give it to them! Their lives are enhanced by my music!” It may not be as much for dancing as some of the songs of the Golden Age, but it’s certainly great tango.

 

 

*Dr. Loco’s Rockin’ Jalapeno Band is a local San Francisco band whose mission is to keep Chicano music alive.

 

All photos by Paula Abramovich