Jasmin Kolberg Trio - Detached (2020)

Tracklist

01. Oblivion (Arr. For Marimba, Accordion And Bass)
02. Deux arabesques, L.66, ICD 4: 1. Andantino con moto (Arr. For Marimba, Accordion And Bass)
03. Toccata in E-moll, BWV 914 (Arr. For Marimba Solo)
04. Toccata in E-moll, BWV 914: 2. Un Poco Allegro (Arr. For Marimba Solo)
05. Toccata E-moll, BWV 914: 4. Allegro – Fuga (Arr. For Marimba Solo)
06. Incenso (Arr. For Vibraphone And Bass)
07. Tango Suite: Andante (Arr. For Marimba And Accordion)
08. Tango Suite: Allegro (Arr. For Marimba, Accordion And Bass)
09. La belle au bois dormant, CD 81 (Arr. For Marimba, Accordion And Bass)
10. Caméléon (Arr. For Marimba, Accordion And Bass)
11. Ave Maria (Arr. For Marimba, Accordion And Bass)
12. Baltracan (Arr. For Vibraphone, Accordion And Bass)
13. Zehn kleine Vortragsstücke, Op. 44: 5. Moment Musical (Arr. For Marimba, Accordion And Bass)
14. Libertango (Arr. for Marimba, Accordion And Bass)


One might think that Europe and Argentina are worlds apart. When it comes to music, however, close connections exist. Bandoneon player and composer Astor Piazzolla lived in a paradox between these worlds. He was ashamed of his tango past and wanted to be part of the classic modern tradition instead. I can relate to his inner turmoil really well as I love tango, jazz and pop as well as classical music. And it also took me a very long time to be able to melt all these influences into one musical unity. Piazzolla went from tango to classical until he found his own roots, whereas in my case the love of tango awoke after a long period of classical music.

Johann Sebastian Bach and other European composers, especially French, connect me with Astor Piazzolla. Their influence can be clearly heard in every one of his works, while the original tango elements are perceptible at the same time.

It is wonderful to be able to feel my European roots in his music. To me Astor Piazzolla's music means liberation from a stereotype concert program. Astor Piazzolla was encouraged in particular by his teacher Nadia Boulanger. In a 1989 interview with Gonzalo Saavedra he said "She taught me to believe in myself. That my music was not so bad as I thought because I played tangos in cabarets. But that I had indeed something called

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