English

Sam Reider, piano y acordeón, y Jorge Glem, cuatro Venezolano: Reimaginando la tradición. Foto de Mario Dávila. Cortesía de CieloMar Entertainment.

La frase parece el comienzo de una rutina de comedia: “Un acordeonista y un cuatrista se conocen en una fiesta…”. Pero la música del compositor, pianista y acordeonista Sam Reider y el maestro venezolano del cuatro Jorge Glem no es ninguna broma. Su debut discográfico, Brooklyn-Cumaná (Guataca Foundation), es una reinvención inteligente y bellamente interpretada de varias tradiciones musicales.

Los resultados son deliciosamente sorprendentes.

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En Español

Sam Reider, piano and accordion, and Jorge Glem, Venezuelan cuatro: Reimagining tradition. Photo by Mario Dávila. Courtesy CieloMar Entertainment.

The line might sound like the opening of a comedy routine: “An accordionist and a cuatro player meet at a party …,” but the music by composer, pianist, and accordion player Sam Reider and Venezuela cuatro master Jorge Glem is no joke. Their debut recording, Brooklyn-Cumaná (Guataca Foundation), is a smart, beautifully played reimagining of musical traditions.

The results of their approach can be delightfully disorienting.

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Gato Barbieri in performance Photo by Pino Alpino. Wikimedia (Artículo en Español )

Leandro José “Gato” Barbieri, perhaps best known as the composer and performer of the soundtrack for Bernardo Bertolucci’s controversial Last Tango in Paris, said more than once that he did not play jazz. Of course, he never saw himself as a Latin Jazz musician. And yet, with a handful of albums recorded between the late ’60s and mid-’70s, Barbieri marked a before and after in the jazz universe.

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