Thirty or forty years ago, when Tango was something more than the poor T-business of today, the Sexteto Canyengue's newest CD, that bears the latinizing title of Tango Maxima, wouldn't have had any reason for existence, or else, it would probably have gone unnoticed. In fact, what would have been the use of playing then the Piazzolla's, the Pugliese's or the Salgàn's music, since Astor, Don Osvaldo and even Horacio, were still alive and leading their own super bands?
But on this day, as our proper Prince Totò used to start off, the going has changed. Since the Tango-music scene is somewhere halfway between a tattered mainstream-junk for deaf dancers and an overpriced imitation-Piazzolla for concert associations, the release of this album leads us to kill the fatted calf and people to clamour in the streets.
Like the hero of Mò cus'aghè ad bél in tl'Arzanteina (an old bolognese song from the Thirties), we ask ourselves: so, what's beautiful in Tango Maxima?
The smart sound, to begin with, which is the Canyengue's trademark, natural and elegant as ever; then, the executing refinement, which includes fair hand, rhythmic flexibility, matchless dynamics; then again the full mastership of many Tango styles (who else could play Piazzolla, Pugliese and Salgàn so damn well?). And, believe us, you must be good to play a straight Pugliese with just six instruments out of eleven; and still further, the advanced compositions and arrangements.
That's right, the Amsterdam skies are not the same of Buenos Aires'; the domestic virtues of serenity, confidence and optimism are rare gifts in Argentina, as well as Haute Couture and genuine Parmesan, and yet they have a strong influence on the interpretation, here. Nevertheless Canyengue is so well-acquainted with the subject that also the mugre, the muck, or one of the Tango's essentials, is kept under control and doled out as a further element in the sound blend, as a fringe benefit for the most demanding listener.
As far as the repertoire selection is concerned, Tango Maxima plays it safe and picks up only winners. It's common knowledge that the Classics, whose rectilinear libraries treasure also valuable goods, must be constantly brushed up, and even revarnished from time to time: as for them Canyengue, they take whatever Tango standard is worth a maintenance and have it radically serviced. Each exhausted tune that comes at the pit-stop is carried to the machine shop, dismantled piece by piece, cleaned it up, debug and sent back to the race, as new as just out of the factory, if not newer.
This is the case of La Cumparsita de D'Arienzo, the National anthem that brings together the milongueros worldwide, La Viruta and Adiòs Nonino, for istance.
Moreover, Maypa and Milonga del angel, are so filled with emotion, so touching, so down to the innermost depths of the music, that we dare to elect them as The Ultimate Versions: they are even superior to the originals and hardly susceptible of improvement in the future..
On the other hand, the new compositions provide circumstantial reference about the venture the Sexteto has just embarked on, and about the identity of the distinguished travelling companions, among whose ranks we recognize Leonard Bernstein (who affected so much El Hombre de la Esquina Rosada too), George Gershwin, Julian Plaza, Charlie Haden and his Quartet West, the french Quincey Jones of the Sixties, in addition of course to the Holy Trinity Piazzolla, Pugliese, Salgàn.
Such a dream-team might have made a mess everywhere but at the Kraayenhofs, by virtue of the firm foundations of the house and the clarity of the artistic plan. Maxima and Milonga para Thirza are brilliant, innovative and moving pieces of Tango. We bet our readers anything: these castles in the air are solid and far from mortgage.
Besides, we are taking this opportunity to enthusiastically welcome Martijn's debut as a composer. His Mangazo, with a few rubs more in live concerts, will soon reveal itself a picaresque diamond, faceted by Willem Breuker, Julian Plaza and the great candombero-batucador Washington Bertolini.

Well, thank you Canyengue for this record. Tango Maxima puts you right in the middle of the Rubicone, the die is cast (we keep the latinisms going because we know that Carel, who inherited from Maestro Pugliese also his Spartacism, loves them), back turns are no more possible.
In conclusion,Tango Maxima impetuously affirms that Sexteto Canyengue is one of the three best Tango bands above (and below) sea level.
The unfortunate reader shall take pains to name the other two.

© Jean Fajean - september 2000

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