Album Liner Notes
Tango Intoxication may be purchased at Amazon.com
I feel so incredibly blessed when I look at my life, my friends and accomplishments. Some of my friends are very gifted, intelligent, deeply talented and giving. Thank you for trusting me with my words on your work.
Eternal Tango
by Hector Del Curto
What do you think of when you hear the words prodigy or genius? I feel we need to have some real definitions here. The dictionary defines prodigy as, “A marvel; person, thing, or act so extraordinary as to inspire wonder: as, a child prodigy.” The dictionary’s definition of genius is “Having natural ability; strong disposition or inclination; innate ability (with, to or for). Great mental capacity and inventive ability; especially, great and original creative ability in some art, science, etc.” Both of these definitions describe Hector Del Curto, Grammy Award-winning master bandoneón player.
As a child Hector’s first influence was his grandfather. His next powerful influence was that of international legend, composer and pianist Osvaldo Pugliese with whom he played for several years. It is not possible to talk about the making of Hector Del Curto, the musician, without mentioning the profound impact of two other incredibly bright musicians, Fernando Otero and Pablo Ziegler. Today, Hector is the most sought after bandoneón player in New York City, the largest Argentine tango community outside of Buenos Aires.
In his home of Buenos Aires, Argentina, Hector won the title of “Best Bandoneón Player Under 25” when he was only 17 years old. Obviously, he had reached a high level of proficiency on his instrument many years before winning the contest. In 1999, he received the Golden Note Award from the Italian–American Network in recognition of his Artistic Achievements.
One of the main sounds that brought tears to my eyes on this Eternal Tango project was the exquisite cello sound of Hector’s wife, Julliard School of Music graduate, Jisoo Ok. Grammy Award-winning saxophonist Paquito D’ Rivera said: When I asked Hector Del Curto about the precious cello sound on his new CD, he told me it is his wife: “I have a good ear for women,” he commented with his fine sense of humor. A good ear is not his only quality; he also has exquisite taste and the perfect balance between precision and delicacy of the chamber music and the passion and expressive power of the popular music of his native Argentina.
This musical project is very dear to Hector’s heart. I agree with the New York Times when they mentioned his "wistful, piercing solos on the bandoneón." It represents the culmination of twenty-five years of work, study, international travel and loving and playing the bandoneón. If you have ever wondered what is in the heart and mind of a sensitive, caring, world-class musician, this is your opportunity. Pugliese would be proud.
Batt Johnson
CD101.9 Radio, New York
Author of "What is This Thing Called Jazz?" and ”Tango Intoxication”
More about Hector Del Curto is available at: http://www.hectordelcurto.com/bio.html
“Revision”
by Fernando Otero
Featuring Nicolas Danielson, Violin
Fernando Otero, Piano
Recorded in New York City, Summer 2005 by Manfred Knoop
It is very easy to say that because Fernando Otero is from Capital Federal, Buenos Aires, Argentina you can hear the roots of his upbringing that are tango and milonga. I think to say that would be a cliche that does not give this extraordinary artist the respect and serious in-depth listening he has earned and so richly deserves.
When I listen to his latest work, “Revision”, I hear more than the music that is Buenos Aires. I hear the world-the world of deep thinking, experienced, well-rounded, educated ears. These are the ears of musicians who have heard a lot of music and can immediately distinguish the trite and mundane from that which has been well thought out with notes that have been artistically laid in place like the brush strokes of a Monet.
Fernando Otero plays like a man many years his senior, well beyond his current tender years. Like a man who is very practiced at the creation of highly sculpted audio art. That is why he was asked to perform with such artists as world renowned jazz bassist Eddie Gomez, who introduced Otero as one of the pianists of the new generation, Brazilian saxophonist Leo Gandelman, ex-Return to Forever drummer Lenny White, musician, producer and record label legend Dave Grusin, flautist Dave Valentin and many more.
While attending a party given by superstar Salma Hayek at her Hollywood home, she introduced Fernando to Quincy Jones. Quincy saw Fernando playing solo piano there in Los Angeles and decided he wanted to work with him on a project.
Fernando Otero has written for and or performed with The Orpheus Chamber Orchestra, Washington Symphony, San Francisco Camerata, AWS Symphony Orchestra, Orquesta Sinfonica Carlos Chavez in Mexico City, and more.
It is very difficult to use words to describe sounds and have the reader fully understand the audio sensations. It is especially difficult when the sounds are familiar when heard separately but are relatively new when heard in combination with other familiar sounds. Sounds can create images in the mind, feelings within the body and even provoke physical actions and reactions.
Music is sound and it does all of those things and more. I suppose this is a skill he developed when he wrote film scores, chamber music, and music for the string quartet, solo piano, full orchestras and his three symphonies.
The other outstanding musician on this CD is Nick Danielson. He is the kind of artist who can make you think and feel. Many of us know him from his collaborations with Wayne Shorter, Branford Marsalis, Wynton Marsalis and the Lincoln Center Jazz Orchestra. Nick is a member of the Orpheus Chamber Orchestra, and has worked at New York City Center with Mikhail Baryshnikov, and has been the violinist in Fernando Otero’s X-Tango Quintet for over six years.
In addition he has many more credentials such as being first violinist of the Chester String Quartet and the Associate Concertmaster of NYC Ballet Orchestra.
Batt Johnson
New York City Broadcaster and Author of “What is This Thing Called Jazz” and ”Tango Intoxication”
PROJECT TIME
By Gustavo Casenave
I met Gustavo while we were performing in a tango play. The plot was great, the tango dancers were fantastic, but the one, single element that brought the entire production to and even higher level was Gustavo’s solo keyboard playing.
He is a true international musician of the highest order. Born in Uruguay, now living in New York City, and is distinguished by his significant contributions to the development and research of American jazz and blues and the incredibly rich musical landscapes of canyengue, candombe, tango, milonga, valz and many other ethnic and folkloric musical genres of South America. Interestingly, you can hear all of his influences on “Project Time.”
You can easily hear his vast musical influences, but what you cannot hear is how he arrives at his never-ending creativity. I was especially moved by the use of his, at the time, four-year old daughter, Lola Casenave’s singing, laughing, playing voice on “Abran Paso.” This track is also doubled conversationally by daddy’s talking bass work. For my ear and soul, one of the most beautiful and important sounds ever made is that of children laughing. This is a fun track that will touch you in a deep place. As a result, it is a “must hear.”
Gustavo did not create a piano-dominated CD that continues to egotistically shout, “Listen to me, listen to me, see what I can do!” With a heart as big as the instrument he plays, he graciously and lovingly shares the stage like a protective mother bear feeding her cubs. The cubs on “Project Time” are: Federico Britos, the jazz violinist on "No Time in Time," Pedro Giraudo played bass on all of the jazz trio tunes, Franco Pinna, drums on all the jazz trio tunes, Hector del Curto on bandoneon, Jisoo Ok, cello, Nicolas Danielson on violin on "Un Valsesito" and Manolo Badrena percussion.
You can hear this multi-award-winning artist’s deep commitment to excellence, his insightfully brilliant musicianship and musical thinking, deep intellectual curiosity and capacity that extend far beyond his relatively few chronological years. Obviously, I am not the only one who recognizes this for he has worked with the giants of jazz like Gary Burton and Johns Hicks to pop legends Neil Sedaka and Bette Midler as her musical director and private piano instructor.
Of those who have been granted gifts, much is expected. Mr. Casenave will not disappoint us as he continues to contribute further and rise to his potential that will have extremely high value and importance in the development of music from the Americas to the world.
To understand this and become further artistically enriched all one has to do is simply listen to “Project Time.”
Batt Johnson-CD 101.9, Smooth Jazz Radio, New York, and author of the book “What Is This Thing Called Jazz?” and ”Tango Intoxication”
AUTUM
by Rodrigo Saenz
This does not happen very often, but when it does, I say to myself, “Now, here is a person who gets it.” I was instantly taken away with the first few piano notes of “If I Had You” on the new CD by Rodrigo Saenz called “Autumn”. I was transported to a small, intimate downtown, downstairs, down-tempo den of a jazz club in a black & white scene in the movie of late nightlife playing in my head. I saw a low ceiling, one small red spotlight on the musicians and smoke in the room as thick as if the space shuttle just took off. And I saw all of that in the first few moments…and that’s just the first track on the CD.
Rodrigo’s gets a sound out of his trumpet that precisely befits the aforementioned scene. Why do some musicians play the trumpet so loud that it makes the hair on your arm stick straight up? When some musicians play with a mute why does it have to be so muffled, imprecise, muddy and unclear that it becomes almost inaudible? Rodrigo Saenz does not offer you either of the two.
“I Fall in Love Too Easily” maintains the texture and flavor of the previous track, only Mr. Saenz adds his rich, warm vocals to his solid trumpet playing immediately displaying his range, musicianship and diversity. The audio hills, valleys, slopes and undulations on the CD are soft, gentle but secure. There is a harmonious, intentional flow from one track to the next. The trumpet, bass and vocal sounds created on this recording are refreshing and relaxing.
This recording offers clear, concise melodies that are so well executed that you actually hear the lyrics in the instrumentals that don’t have singing. You can hear the words in your head. A thousand notes do not have to be played at a lightening pace so they all blend together as one to be considered jazz. These musicians are not trying to show the world they went to music school. They are simply trying to help you feel through your ears. There are some standards, some original compositions, but the entire CD just sounds like an old friend.
With Michael Favata on piano, Jerry Weldon on tenor sax, Ian Petillo and Wes Little on drums on various tracks and of course Rodrigo Saenz on trumpet, acoustic bass and vocals, you can hear and feel the musical friendships, the relationships, the respect each musician has for the other.
Like the red, yellow and golden hued leaves softly floating to earth in Rodrigo Saenz’ favorite autumn time of year, his new CD will certainly entice.
Batt Johnson
Author of "What Is This Thing Called Jazz" and ”Tango Intoxication”
Nick Danielson
When I first heard Nick Danielson’s sweet, yet mournful violin solo played live on “Aguaribay” it made me weep. There I was, a grown man, sitting with a group of other adults with tears welling up then rolling out of my eyes. Was I ashamed, embarrassed? Did I feel emasculated? No, I was happy for Fernando and Nick. I was happy because as artists, they were able to touch me. I gave them the opportunity and they took it.
That is what I look for with any piece of art from any artist, be it a film, painting, photographic art, Broadway play or a musical composition. I want to feel something I want to be moved in some way, I want to care.
Nick Danielson is the kind of artist who can make you feel. Many of us know him from his collaborations with Wayne Shorter, Branford Marsalis, Wynton Marsalis and the Lincoln Center Jazz Orchestra. Nick is a member of the Orpheus Chamber Orchestra, and has worked at New York City Center with Mikhail Baryshnikov, and has been the violinist in Fernando Otero’s X-Tango Quintet for over six years.
In addition to being a member of the Orpheus Chamber Orchestra, he has many more credentials such as being first violinist of the Chester String Quartet and the Associate Concertmaster of New York City Ballet Orchestra.
Batt Johnson
New York City Broadcaster and Author of “What is This Thing Called Jazz” and ”Tango Intoxication”
Unity of the Spheres
by Jack De Pietro
How does a red blooded All-American boy go from listening to the music of the Beatles and Rolling Stones to being enrolled in the Berklee College of Music, one of the world’s premiere music schools to study jazz, play with some of the most respected and revered jazz musicians in the world, to recording a CD that sounds like the acoustic work of the Eagles and Jackson Browne?
Jack De Pietro has come full circle. He started as a self-taught musician, studied at the best school, then threw it all away to sing and play from his heart. He is a multi-instrumentalist who sings and plays drums, piano and guitar with a vengeance and whips a mean MAC keyboard when it comes to his heartfelt, once lived, award-winning lyrics.
Jack De Pietro is a man filled with music and a man filled with love as evidenced by his motto: “If life is worth living, it’s worth recording.” Enjoy his “Unity of the Spheres.”
Batt Johnson
New York City radio broadcaster and the author of “What is This Thing Called Jazz?” and ”Tango Intoxication”
EARLY BIRD
by Sivad Kered
How can a collection of musical compositions be fresh, new, familiar and yet you have never it heard before...but you feel you know it? Those of some of the qualities of a hit instrumental CD.
Sivad Kered’s new CD called Early Bird is highly rhythmic and textured with layers of genuine excitement, heartfelt solos and sensuous melodic intentions that are occasionally jazz flavored, often soulful with intermittent Latin inflections.
If the current economic climate has you in a position where that extended European vacation has turned into an at home stay-cation, the joys of Sivad Kered’s Early Bird CD can take you to places in your mind that have been completely unexplored.
Batt Johnson-New York City radio broadcaster and author of “What Is This Thing Called Jazz?” and ”Tango Intoxication”
Eternal Tango
by Hector Del Curto
What do you think of when you hear the words prodigy or genius? I feel we need to have some real definitions here. The dictionary defines prodigy as, “A marvel; person, thing, or act so extraordinary as to inspire wonder: as, a child prodigy.” The dictionary’s definition of genius is “Having natural ability; strong disposition or inclination; innate ability (with, to or for). Great mental capacity and inventive ability; especially, great and original creative ability in some art, science, etc.” Both of these definitions describe Hector Del Curto, Grammy Award-winning master bandoneón player.
As a child Hector’s first influence was his grandfather. His next powerful influence was that of international legend, composer and pianist Osvaldo Pugliese with whom he played for several years. It is not possible to talk about the making of Hector Del Curto, the musician, without mentioning the profound impact of two other incredibly bright musicians, Fernando Otero and Pablo Ziegler. Today, Hector is the most sought after bandoneón player in New York City, the largest Argentine tango community outside of Buenos Aires.
In his home of Buenos Aires, Argentina, Hector won the title of “Best Bandoneón Player Under 25” when he was only 17 years old. Obviously, he had reached a high level of proficiency on his instrument many years before winning the contest. In 1999, he received the Golden Note Award from the Italian–American Network in recognition of his Artistic Achievements.
One of the main sounds that brought tears to my eyes on this Eternal Tango project was the exquisite cello sound of Hector’s wife, Julliard School of Music graduate, Jisoo Ok. Grammy Award-winning saxophonist Paquito D’ Rivera said: When I asked Hector Del Curto about the precious cello sound on his new CD, he told me it is his wife: “I have a good ear for women,” he commented with his fine sense of humor. A good ear is not his only quality; he also has exquisite taste and the perfect balance between precision and delicacy of the chamber music and the passion and expressive power of the popular music of his native Argentina.
This musical project is very dear to Hector’s heart. I agree with the New York Times when they mentioned his "wistful, piercing solos on the bandoneón." It represents the culmination of twenty-five years of work, study, international travel and loving and playing the bandoneón. If you have ever wondered what is in the heart and mind of a sensitive, caring, world-class musician, this is your opportunity. Pugliese would be proud.
Batt Johnson
CD101.9 Radio, New York
Author of "What is This Thing Called Jazz?" and ”Tango Intoxication”
More about Hector Del Curto is available at: http://www.hectordelcurto.com/bio.html
“Revision”
by Fernando Otero
Featuring Nicolas Danielson, Violin
Fernando Otero, Piano
Recorded in New York City, Summer 2005 by Manfred Knoop
It is very easy to say that because Fernando Otero is from Capital Federal, Buenos Aires, Argentina you can hear the roots of his upbringing that are tango and milonga. I think to say that would be a cliche that does not give this extraordinary artist the respect and serious in-depth listening he has earned and so richly deserves.
When I listen to his latest work, “Revision”, I hear more than the music that is Buenos Aires. I hear the world-the world of deep thinking, experienced, well-rounded, educated ears. These are the ears of musicians who have heard a lot of music and can immediately distinguish the trite and mundane from that which has been well thought out with notes that have been artistically laid in place like the brush strokes of a Monet.
Fernando Otero plays like a man many years his senior, well beyond his current tender years. Like a man who is very practiced at the creation of highly sculpted audio art. That is why he was asked to perform with such artists as world renowned jazz bassist Eddie Gomez, who introduced Otero as one of the pianists of the new generation, Brazilian saxophonist Leo Gandelman, ex-Return to Forever drummer Lenny White, musician, producer and record label legend Dave Grusin, flautist Dave Valentin and many more.
While attending a party given by superstar Salma Hayek at her Hollywood home, she introduced Fernando to Quincy Jones. Quincy saw Fernando playing solo piano there in Los Angeles and decided he wanted to work with him on a project.
Fernando Otero has written for and or performed with The Orpheus Chamber Orchestra, Washington Symphony, San Francisco Camerata, AWS Symphony Orchestra, Orquesta Sinfonica Carlos Chavez in Mexico City, and more.
It is very difficult to use words to describe sounds and have the reader fully understand the audio sensations. It is especially difficult when the sounds are familiar when heard separately but are relatively new when heard in combination with other familiar sounds. Sounds can create images in the mind, feelings within the body and even provoke physical actions and reactions.
Music is sound and it does all of those things and more. I suppose this is a skill he developed when he wrote film scores, chamber music, and music for the string quartet, solo piano, full orchestras and his three symphonies.
The other outstanding musician on this CD is Nick Danielson. He is the kind of artist who can make you think and feel. Many of us know him from his collaborations with Wayne Shorter, Branford Marsalis, Wynton Marsalis and the Lincoln Center Jazz Orchestra. Nick is a member of the Orpheus Chamber Orchestra, and has worked at New York City Center with Mikhail Baryshnikov, and has been the violinist in Fernando Otero’s X-Tango Quintet for over six years.
In addition he has many more credentials such as being first violinist of the Chester String Quartet and the Associate Concertmaster of NYC Ballet Orchestra.
Batt Johnson
New York City Broadcaster and Author of “What is This Thing Called Jazz” and ”Tango Intoxication”
PROJECT TIME
By Gustavo Casenave
I met Gustavo while we were performing in a tango play. The plot was great, the tango dancers were fantastic, but the one, single element that brought the entire production to and even higher level was Gustavo’s solo keyboard playing.
He is a true international musician of the highest order. Born in Uruguay, now living in New York City, and is distinguished by his significant contributions to the development and research of American jazz and blues and the incredibly rich musical landscapes of canyengue, candombe, tango, milonga, valz and many other ethnic and folkloric musical genres of South America. Interestingly, you can hear all of his influences on “Project Time.”
You can easily hear his vast musical influences, but what you cannot hear is how he arrives at his never-ending creativity. I was especially moved by the use of his, at the time, four-year old daughter, Lola Casenave’s singing, laughing, playing voice on “Abran Paso.” This track is also doubled conversationally by daddy’s talking bass work. For my ear and soul, one of the most beautiful and important sounds ever made is that of children laughing. This is a fun track that will touch you in a deep place. As a result, it is a “must hear.”
Gustavo did not create a piano-dominated CD that continues to egotistically shout, “Listen to me, listen to me, see what I can do!” With a heart as big as the instrument he plays, he graciously and lovingly shares the stage like a protective mother bear feeding her cubs. The cubs on “Project Time” are: Federico Britos, the jazz violinist on "No Time in Time," Pedro Giraudo played bass on all of the jazz trio tunes, Franco Pinna, drums on all the jazz trio tunes, Hector del Curto on bandoneon, Jisoo Ok, cello, Nicolas Danielson on violin on "Un Valsesito" and Manolo Badrena percussion.
You can hear this multi-award-winning artist’s deep commitment to excellence, his insightfully brilliant musicianship and musical thinking, deep intellectual curiosity and capacity that extend far beyond his relatively few chronological years. Obviously, I am not the only one who recognizes this for he has worked with the giants of jazz like Gary Burton and Johns Hicks to pop legends Neil Sedaka and Bette Midler as her musical director and private piano instructor.
Of those who have been granted gifts, much is expected. Mr. Casenave will not disappoint us as he continues to contribute further and rise to his potential that will have extremely high value and importance in the development of music from the Americas to the world.
To understand this and become further artistically enriched all one has to do is simply listen to “Project Time.”
Batt Johnson-CD 101.9, Smooth Jazz Radio, New York, and author of the book “What Is This Thing Called Jazz?” and ”Tango Intoxication”
AUTUM
by Rodrigo Saenz
This does not happen very often, but when it does, I say to myself, “Now, here is a person who gets it.” I was instantly taken away with the first few piano notes of “If I Had You” on the new CD by Rodrigo Saenz called “Autumn”. I was transported to a small, intimate downtown, downstairs, down-tempo den of a jazz club in a black & white scene in the movie of late nightlife playing in my head. I saw a low ceiling, one small red spotlight on the musicians and smoke in the room as thick as if the space shuttle just took off. And I saw all of that in the first few moments…and that’s just the first track on the CD.
Rodrigo’s gets a sound out of his trumpet that precisely befits the aforementioned scene. Why do some musicians play the trumpet so loud that it makes the hair on your arm stick straight up? When some musicians play with a mute why does it have to be so muffled, imprecise, muddy and unclear that it becomes almost inaudible? Rodrigo Saenz does not offer you either of the two.
“I Fall in Love Too Easily” maintains the texture and flavor of the previous track, only Mr. Saenz adds his rich, warm vocals to his solid trumpet playing immediately displaying his range, musicianship and diversity. The audio hills, valleys, slopes and undulations on the CD are soft, gentle but secure. There is a harmonious, intentional flow from one track to the next. The trumpet, bass and vocal sounds created on this recording are refreshing and relaxing.
This recording offers clear, concise melodies that are so well executed that you actually hear the lyrics in the instrumentals that don’t have singing. You can hear the words in your head. A thousand notes do not have to be played at a lightening pace so they all blend together as one to be considered jazz. These musicians are not trying to show the world they went to music school. They are simply trying to help you feel through your ears. There are some standards, some original compositions, but the entire CD just sounds like an old friend.
With Michael Favata on piano, Jerry Weldon on tenor sax, Ian Petillo and Wes Little on drums on various tracks and of course Rodrigo Saenz on trumpet, acoustic bass and vocals, you can hear and feel the musical friendships, the relationships, the respect each musician has for the other.
Like the red, yellow and golden hued leaves softly floating to earth in Rodrigo Saenz’ favorite autumn time of year, his new CD will certainly entice.
Batt Johnson
Author of "What Is This Thing Called Jazz" and ”Tango Intoxication”
Nick Danielson
When I first heard Nick Danielson’s sweet, yet mournful violin solo played live on “Aguaribay” it made me weep. There I was, a grown man, sitting with a group of other adults with tears welling up then rolling out of my eyes. Was I ashamed, embarrassed? Did I feel emasculated? No, I was happy for Fernando and Nick. I was happy because as artists, they were able to touch me. I gave them the opportunity and they took it.
That is what I look for with any piece of art from any artist, be it a film, painting, photographic art, Broadway play or a musical composition. I want to feel something I want to be moved in some way, I want to care.
Nick Danielson is the kind of artist who can make you feel. Many of us know him from his collaborations with Wayne Shorter, Branford Marsalis, Wynton Marsalis and the Lincoln Center Jazz Orchestra. Nick is a member of the Orpheus Chamber Orchestra, and has worked at New York City Center with Mikhail Baryshnikov, and has been the violinist in Fernando Otero’s X-Tango Quintet for over six years.
In addition to being a member of the Orpheus Chamber Orchestra, he has many more credentials such as being first violinist of the Chester String Quartet and the Associate Concertmaster of New York City Ballet Orchestra.
Batt Johnson
New York City Broadcaster and Author of “What is This Thing Called Jazz” and ”Tango Intoxication”
Unity of the Spheres
by Jack De Pietro
How does a red blooded All-American boy go from listening to the music of the Beatles and Rolling Stones to being enrolled in the Berklee College of Music, one of the world’s premiere music schools to study jazz, play with some of the most respected and revered jazz musicians in the world, to recording a CD that sounds like the acoustic work of the Eagles and Jackson Browne?
Jack De Pietro has come full circle. He started as a self-taught musician, studied at the best school, then threw it all away to sing and play from his heart. He is a multi-instrumentalist who sings and plays drums, piano and guitar with a vengeance and whips a mean MAC keyboard when it comes to his heartfelt, once lived, award-winning lyrics.
Jack De Pietro is a man filled with music and a man filled with love as evidenced by his motto: “If life is worth living, it’s worth recording.” Enjoy his “Unity of the Spheres.”
Batt Johnson
New York City radio broadcaster and the author of “What is This Thing Called Jazz?” and ”Tango Intoxication”
EARLY BIRD
by Sivad Kered
How can a collection of musical compositions be fresh, new, familiar and yet you have never it heard before...but you feel you know it? Those of some of the qualities of a hit instrumental CD.
Sivad Kered’s new CD called Early Bird is highly rhythmic and textured with layers of genuine excitement, heartfelt solos and sensuous melodic intentions that are occasionally jazz flavored, often soulful with intermittent Latin inflections.
If the current economic climate has you in a position where that extended European vacation has turned into an at home stay-cation, the joys of Sivad Kered’s Early Bird CD can take you to places in your mind that have been completely unexplored.
Batt Johnson-New York City radio broadcaster and author of “What Is This Thing Called Jazz?” and ”Tango Intoxication”
Tango Intoxication may be purchased at Amazon.com