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Quasimodo Trío

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Este trío formado por músicos de una nueva generación del tango tiene entre sus objetivos mostrar nuevas composiciones y ampliar el lenguaje de la música ciudadana.

En su último material presenta composiciones propias con una orientación sonora y compositiva totalmente nueva dentro de este género y esta formación tan especial.

Formado por músicos jóvenes pero de amplia trayectoria Pedro Onetto( Piano y Composición), Daniel Ruggiero (Bandoneon y Composición) y Nicolás Rainone(Contrabajo) ellos forman este proyecto desde mediados del año 2004 presentándose en varios escenarios porteños con el fin de expresar su particular manera de sentir el tango y la música ciudadana de acuerdo con su época.

En Octubre del 2007 Realizan su primer gira por Europa (Holanda y Bélgica), donde grabaron su segundo disco con la participación del Cuarteto Recopado,  y el baterista Marcos Baggiani como invitados, que esta por ser editado en el año  2008.

 Irene Amuchástegui                                                  ..

Quasimodo, trío instrumental en el que revistan dos compositores veinteañeros bajo la premisa de explorar nuevas formas del tango, no pasa inadvertido con su disco debut. Para empezar, algunos de los músicos más reconocidos de la vanguardia del 60 les dedicaron calurosas bienvenidas. "A los que buscan, como ustedes, les digo simplemente que los admiro", escribió Juan José Mosalini en referencia al tema que abre el CD. "Este trío acepta el desafío de tratar de dar una respuesta personal y seria al arte que los vertebra", dijo Gustavo Beytelmann, y Daniel Binelli confió: "Lo escuché con atención y me llegó al alma". Citas a Stravinsky, cruzas de Chic Corea con Adiós Nonino y otras osadías se apoyan en el sustrato de un lenguaje que Daniel Ruggiero (bandoneón), Exequiel Mantega (piano) y Nicolás Rainone (contrabajo) demuestran conocer. Desde la cuna en el caso de Daniel, que es hijo de Osvaldo Ruggiero, el histórico bandoneonísta del inolvidable Osvaldo Pugliese y el Sexteto Tango que murió en 1994.
En Daniel parecen haberse aplacado los rasgos y los gestos desmesurados del Tano –aquel melenudo, ceñudo, narigón que hacía arder a las barras pugliesianas- pero no la vehemencia.

Fuente:

http://www.10tango.com/interior/detalle_nota.php?idx=94

Natalio Gorin 

Señores: este disco es uno de lo mejor que he escuchado en lo que va del siglo XXI en la materia y en la música de Buenos Aires que amamos: el tango.

Fuente:

http://www.abctango.com/noticia_ind.php?idnro=382&tipo=3&idioma=1

Tropen Theater Ámsterdam, Holanda

Están con ganas de comerse el mundo, estos supertalentos: Daniel Ruggiero, bandoneón, Pedro Onetto, piano y Nicolás Rainone en contrabajo.
Buenos Aires los ve como el futuro de tango. Su sueño musical está enclavado en la tradición y se encuentra muy próximo al jazz y a la música de cámara. Utilizan el tango para la creación de su propio lenguaje musical lleno de emociones e imágenes con su propio sello. Por ejemplo cuando mezclan Chick Corea's Spain con Astor Piazolla's Adiós Nonino de una manera orgánica.

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....Quasimodo Trio  in Amsterdam  

"... I closed my eyes and let them take me by the hand and lead me through a neighbourhood like one I know a bit, San Telmo in Buenos Aires, and show me the streets and alleys I hadn't yet seen before. We go left, we go right and I enjoy the tour. Is it Tango? I'd say, it's music with Tango roots and other influences, exactly what the boys claimed it is, at the beginning of the concert..."

October 19, the trio played in the beautiful theatre of the Tropical Institute in Amsterdam (with a guest piano player).
At first, I was a bit afraid a trio could hardly keep my attention, being more used to go to concerts of the bigger bands that play tango violently. And during the first songs they indeed lost me a bit. The music was complicated, but gradually, during the first set, these seriously playing young men won my sympathy. What I definatly liked is surprising new, delicate compositions and arrangements or mixes of know stuff, and not hearing the same old covers that most groups seem to endlessly want to repeat.
In the break a few people left, saying: this isn't Tango. A young argentinean tangodancer and musician agreed it wasn't, claiming that also Astor Piazzolla composed music that wasn't really tango either. He said: 'I look at tangomusic as a dancer. I need to want to dance on it'. Speaking for myself, when I did let go of that idea, I enjoyed the concert a lot more. I closed my eyes and let them take me by the hand and lead me through a neighbourhood like one I know a bit, San Telmo in Buenos Aires, and show me the streets and alleys I hadn't yet seen before. We go left, we go right and I enjoy the tour. Is it Tango? I'd say, it's music with Tango roots and other influences, exactly what the boys claimed it is, at the beginning of the concert. Supporting this mix is Eduardo Ritacco, writing at www.abctango.com:
They (the young people) do it their own way, with a seal of their own, mixing Piazzolla with the primitive bands with flute and guitar, deconstructing it a bit and also respecting another bit. Maybe that is why it is now again a phenomenon of the most powerful years, the resurrection of tango may be more real than ever."

A dutch lady tango dancer who normally lives in Buenos Aires, where she 'bathes' in Tango whenever she wants, said she enjoyed the concert to the fulllest. And in the end, for a good reason, the trio got standing ovations and the audience was asking for 'otras' two times. After the break, there were more 'high energy' peaces, played as such. I thought the jazzy pieces were just lovely, and the surprise song (sorry for spoiling the surprise now), an indigenous rhythm, and a text about a dried out river and a cry for rain, was a welcome introduction of the vocal qualities of the base player. I look forward to future surprises the trio may come up with, and I hope Nicolás does the singing part again. The arrangement of Adios Nonino, mixed with 'Spain' (Chick Corea) and 'Concierto de Aranjuez' pleased me for the biggest part, but the very ending wasn't. There, the 'drama' in the well known Adios Nonino arrangements was replaced by a rush of chords lacking that expression.
With next concerts I would like to experience a clearer 'lead' (thread, theme,...) some times, because now there were parts where I found it difficult to figure out where we were going (appearently I don't want to have to think too much when I listen to music). I wondered if it could be simply be fixed with an adjustment of the volume of the bandoneon, during those moments, or by another 'phrasing' (timing).
During the very 'minimal' pieces, where the bandoneon slowly goes from one chord to the other, I thought even less notes would do the job. The bandoneon can be so dramaticly expressive, with even only one button pushed.

The trio will work on new recordings and next time they hope to have the result of that with them: their second CD. I'm looking forward to their next visits and concert of the new pieces, 'made in Holland'.

Listen to samples of their music for youself, at their website
www.quasimodotrio.com.ar
Enjoy the music that website opens with. It's a longer energetic piece, than the samples that you find at their music sample page, but those also are worth being taken notice of.
www.quasimodotrio.com.ar/discografia.php

Fuente:

http://www.torito.nl/agenda/paginas/QuasimodoTrio/index.html

www.quasimodotrio.com.ar

http://www.myspace.com/quasimodotrio

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Interview September 2007, La Cadena Magazine, The Netherlands

Editor: Gerard van Duinen (nederlands)

http://home.tiscali.nl/gerardvanduinen/assets/downloads/La%20Cadena%20127%20(Quasimodo).pdf 

Het Quasimodo Trio is een ambitieus driemanschap dat de tango met frisse oren tegemoet treedt.