Tõnu Kaljuste Conductor
Tõnu Kaljuste Conductor
I can think of few souls who exude such innate musicality as Dino Saluzzi. At his fingertips, the bandoneón turns photographs into cinema, working its way into corners of the heart one never knew existed—or, more accurately, those we’ve long forgotten but only now recall. That he still has so much to say at age 90 is a testament not only to his endurance but also to the infinite power of music to link the lives of performers and listeners in an unbroken chain. The appropriately titled El Viejo Caminante (The Old Wanderer) finds him in the company of his son, José Maria Saluzzi (on classical guitar), and Jacob Young (on acoustic steel-string and electric guitars).
The project was seeded in 2022 when Young came to Argentina to perform a series of concerts with José. After hearing them on stage in Buenos Aires, Dino invited the Norwegian guitarist to come back the following year, resulting in the present record. But if the opening strains of “La Ciudad De Los Aires Buenos” are any indication, their sound is far deeper in the making than a chance encounter would have us believe. Father Saluzzi primes this canvas with a yielding gesso before the guitarists render their scenery in real time, never missing a single stroke in their duetting. The color contrasts between steel and nylon are a sunflower and its shadow swaying in unison with the wind. As the bellows return, the clouds cast their veil against the sun so that we can till the land just a little longer.
From this inward reflection, we expand into outward travels in “Northern Sun.” Without a hint of coercion, the guitars glide and tumble as if they were made for the terrain of this Karin Krog classic. At the whim of a creative gravity, they move in concert with every change. Like the standard “My One And Only Love” that closes out the set, the tune lays down its cards with a twinkle of the eye.
Dino contributes a broad selection of pieces, including the nostalgia-laden “Buenos Aires 1950” and the title track. The fullness of the latter’s inner dialogue is made possible only by the space its composer allows. Even more heartfelt moments are to be found in “Mi Hijo Y Yo,” a duet with José that speaks in a language born of shared triumphs and tribulations. The son’s muted touch lends an air of reverence for the father. Their tenderness continues in “Someday My Prince Will Come,” turning this standard into a mellifluous anthem. Between them is “Tiempos De Ausencias,” which adopts a slightly abstract form of hindsight. As Young joins in, what began as a private conversation turns into the delicate banter of old friends. More of the same flows into “Y Amo A Su Hermano,” in which every line plays an equal role. With the utmost empathy, it ebbs and flows with the tide.
Young adds his own touch to the proceedings with three originals. In “Quiet March,” his electric adds nocturnal depth. “Dino Is Here” was written for the occasion and provides ample room for the musicians to coalesce into a dynamic tango. Meanwhile, “Old House” epitomizes the art of listening, each player given time to say exactly what they need to say.
As freely flowing as this music is, it is by no means carefree. Indeed, great attention to detail has gone into every turn of phrase, and not a single note feels wasted. Such economy of expression is what elevates the session as a wonder. Through the lens of personal experience, it brings forth truth, knowing that when we look back on things, certain details inevitably cut into frame. Though painful at the time, they become a necessary part of the landscape of our lives, songs waiting to be sung when we are old enough to handle them without fear.