• Piazzolla in Brooklyn

    Pablo Aslan Quintet

    Soundbrush Records SR1023 2011

    The follow up to Grammy and Latin Grammy nominated “Tango Grill”.  Go to Album Page »

    Pablo Aslan Quintet - Piazzolla In Brooklin


    1. La Calle 92 (Astor Piazzolla)
    2. Counterpoint (Astor Piazzolla)
    3. Dedita (Astor Piazzolla)
    4. Laura (David Raksin - Johnny Mercer)
    5. Lullaby Of Birdland (George Shearing - George D. Weiss)
    6. Oscar Peterson (Astor Piazzolla)
    7. Plus Ultra (Astor Piazzolla)
    8. Show Off (Astor Piazzolla)
    9. Something Strange (Astor Piazzolla)
    10. Triunfal (Astor Piazzolla)


    Gustavo Bergalli, trumpet
    Nicolas Enrich, bandoneon
    Abel Rogantini, piano
    Pablo Aslan, bass
    Daniel “Pipi” Piazzolla, drums

    Reviews »

    DOWNBEAT    **** (4 Star)

    There may be odder ambitions than wanting to remake what Astor Piazzolla considered the worst album of his career, but give bassist Pablo Aslan credit: at least he did the job right. The story begins in 1959, when the Argentine tango giant was working as a session musician in New York.  Working with a half-dozen or so jazz and Latin session players, he arranged an assortment of jazz standards and original tunes in a style that tried to apply a bebop twist to a tango-based pulse.  But the rhythm work was mechanical and there wasn’t another solo voice for Piazzolla to play off of, making the end result – released on Tico Records as Take Me Dancing! – utterly undeserving of it exclamation point.

    Aslan, an Argentine bassist and composer with a strong background in both jazz and Tango Nuevo, recognized both the potential and failings of Take Me Dancing! And does an excellent job of rescuing Piazzolla’s original combination of bandoneon, piano, guitar and percussion but allowing room for improvisation by all the players, not merely the leader.

    As such, Piazzolla in Brooklyn easily lives up to the composer’s early imagining of jazz tango.  Nicolas Enrich’s bandoneon is nearly as supple and inventive as the master’s, and deftly evokes the mannered melancholy of the film ballad “Laura”, while Gustavo Bergalli’s lithe, authoritative trumpet lines bring a bop-pish brashness to the Piazzolla-ized “Lullaby of Birdland”.

    But drummer Daniel “Pipi” Piazzolla – Piazzolla’s grandson – is the most important link here, for as his playing moves easily between a loping jazz drove and a taut tango pulse, he bridges the gap between jazz and tango in ways the original album never imagined.

    If this is the musical equivalent of speculative fiction, let’s hope Aslan brings us more.

    - J.D. Considine



    In 1959, according to the liner notes to Piazzolla in Brooklyn, the 38-year old Argentinean tango master Astor Piazzolla, then based in New York, assembled a band and recorded an album called Take Me Dancing! whose intent was to bridge jazz with his own favored genre.  By all accounts, even his own, Piazzolla failed miserable, artistically and commercially, and he never revisited the idea.

    Bassist Pablo Aslan, also originally from Buenos Aires and long a New York resident, has built a career of fusing the two worlds that his inspiration couldn’t. On this latest release, he is determined to finish the job his mentor started:  Piazzolla in Brooklyn (which title, aside, was recorded in Buenos Aires) resurrects and updates the music of the long-out-of-print original, and this time it’s no flop.

    For the project, Aslan, rather than call on established jazz players, uses his own Argentinean quintet, bandoneon player Nicolar Enrich, trumpeter Gustavo Bergalli, pianist Abel Rogantini and drummer Daniel “”Pipi” Piazzolla (grandson of the legend).  All but two of its 10 tracks (animated back-to-back runs through George Shearing’s “Lullaby of Birdland” and Johnny Mercer’s “Laura”) were written by Piazzolla, among which is one simply called “Oscar Peterson”.  Reducing the core group to trio – bandoneon and trumpet sit it out – Aslan pays tribute, via Piazzolla, to another master, not so much by co-opting the iconic pianist’s style as molding it to expound upon his concept.

    Bergalli and Enrich more than make up for that brief hiatus throughout the rest.  They lock in tightly on tracks like “Something Strange” and the appropriately titled “Counterpoint” and, with Aslan’s crisp and distinct bass lines, the young Piazzolla’s razor-sharp timing and Rogantini’s vibrant melodies , allow Astor Piazzolla’s misfire to come to fruition more than a half-century later.

    - Jeff Tamarkin


    "This record is a triumph not only because Pablo Aslan pulls off a miracle, but also because he sets a fifty-year-old grudge right; something that can only please the resident spirit of the great Astor Piazzolla who started it all in the first place."  Raul da Gama   (READ THE ARTICLE)




    chipboaz.com - Album of the week


  • Tango Jazz – Live at Jazz at Lincoln Center

    Paquito D’Rivera with the Pablo Aslan Ensemble

    Paquito Records/Sunnyside 2010
    Paquito D'Rivera with the Pablo Aslan Ensamble - Tango Jazz


    1. Viejo Smocking (Barbieri-Flores)
    2. Beto (Pablo Aslan)
    3. Bandoneón (Pablo Aslan)
    4. Milonguinha (Abel Rogantini)
    5. Close Encounter of the Fourth Kind (Michael Zisman)
    6. Verano Porteño (Astor Piazzolla)
    7. Tanguajira (Pablo Aslan)
    8. Goodbye (Gordon Jenkins)


    Arrangements by Pablo Aslan except tracks 4 (Rogantini) and 5 (Zisman)


    Paquito D’Rivera - alto saxophone, clarinet
    Gustavo Bergalli - trumpet
    Pablo Agri - violin
    Nicolas Danielson - violin
    Michael Zisman - bandoneon
    Ra˙l Jaurena - bandoneon
    Abel Rogantini - piano
    Pablo Aslan - acoustic bass
    Daniel “”Pipi”” Piazzola - drums

    Reviews »

    The International Review of Music
    Latin Jazz CDs: Paquito D’Rivera and Tito Puente
    By Fernando Gonzalez
    Paquito D’Rivera and the Pablo Aslan Ensemble
    Tango Jazz Live At The Lincoln Center (Paquito Records)
    Cuban reedman Paquito D’Rivera has been a leader in exploring the possibilities of Latin American styles in a jazz context. He had already whetted his appetite for some kind of jazz tango fusion in his 2007 Funk Tango. Add to this his many personal and professional relationships with Argentine and Uruguayan musicians (quite a few of them members of his working group at one time or another), the long history of tango in Cuba ( in part no doubt nurtured by a sense of familiarity given the proximity of tango and habanera) and you knew that a Paquito D’Rivera tango project was just a matter of time.
    He couldn’t have found a better partner for it than New York-based Argentine bassist and bandleader Pablo Aslan, a pioneer in exploring tango with a jazz sensibility.
    Aided by a strong, musically bilingual group including trumpeter Gustavo Bergalli, violinists Pablo Agri and Nicolas Danielson, bandoneonists Michael Zisman and Raul Jaurena, pianist Abel Rogantini and drummer Daniel Piazzolla, D’Rivera and Aslan offer here a program made of old tangos (“Viejo Smocking”), modern tango standards (Astor Piazzolla’s “Verano Porteño”), Gordon Jenkins’ “Goodbye,” and five originals. This is no lab experiment. The music feels lived-in. The soloing is not only fluid but feels idiomatic to the moment (are we now in jazz territory or is it tango?).
    Whatever else can be made of it, this music swings. Drummer Piazzolla, grandson of Astor, the master of New Tango, plays a key role here, subtly pushing, filling up spaces, nudging this and that way but always discreetly. And D’Rivera sounds completely at ease, adding humor, spice and a certain Caribbean flair to tango’s innate melancholy.

    Paquito D’Rivera Tango Jazz: Live at Jazz at Lincoln Center | Sunnyside
    The Cuban clarinetist has dabbled in tango before, poorly, and I had yet to hear anything from the uptown culture palace that I could recommend. So why this breakthrough? That’s easy: bassist-arranger Pablo Aslan, whose own records have stealthily insinuated tango into the New York jazz ghetto. Yet this is an advance for Aslan as well: His moves are so assured and graceful, the extra glitz actually helps. A MINUS


    `Tango Jazz, Live at Jazz at Lincoln Center', Paquito D'Rivera with the Pablo Aslan Ensemble (Paquito Records)


    Especial/El Nuevo Herald
    Quienes esperen encontrar en Tango Jazz, el disco más reciente de Paquito D'Rivera, tangos tradicionales como Volver o El día que me quieras, quedarán defraudados. No hay nada malo en escuchar tangos viejos. Lo que pasa es que Tango Jazz no es eso. Hasta su título advierte de qué se trata: una genuina grabación de tango jazz. Que para eso D'Rivera se rodeó de los virtuosos del Pablo Aslan Ensemble, encabezándolos con su saxo alto y su clarinete para ensamblar --nunca mejor usado este verbo-- una extensa parada interpretativa de trompetas, violines, pianos, bajos y
    Producido por Brenda Feliciano, su esposa (todo queda en familia, hasta el sello es de él), y arreglado por Pablo Aslan, el compacto contiene ocho temas que transitan desde la serenidad del smooth jazz hasta las más arriesgadas y enérgicas improvisaciones. Ya desde el primer tema, Viejo Smoking, uno sabe --por su impredecible y vertiginosa ejecución-- que el viaje será en un roller coaster. Así, entre lentos ascensos y trepidantes descensos, D'Rivera nos lleva de la mano --pasando por Bandoneón y Milonguinha, tangos jazzeados con suavidad, y por Tanguajira, una original mezcla de tango con guajira-- hacia el tema final, Goodbye, en una bonita despedida, soft and beautiful, pero también revestida de una aristocrática elegancia latina. •


    Paquito D'Rivera: Tango Jazz: Live at Lincoln Center (2010)
    Published: December 5, 2010

    One of the greatest love affairs in music is the one between folk music and dance. This extremely covert relationship has spilled over into contemporary music as well—more so in musical excursions in Europe (where even Igor Stravinsky sang its praises with compositions of his own) and in Latin America. One of the most beloved of all these affairs is the storied one of the tango: a voluptuous one between characters born in countries as far removed as Finland, Spain and France, mixed in with vibrant ones in Africa, and then transported across oceans to a brave new world, where they came to rest principally in Argentina and Uruguay, where the romance grew until it reached dizzying heights at the hands of Carlos Gardel and Astor Piazzolla. This love affair has continued until today, with musicians such as the great bassist Pablo Aslan, who have continued to expand its role in the literature of music.
    Cuban-born/US-based reed man Paquito D'Rivera has been known for his interminable dalliance with tango, with Tango Jazz: Live at Lincoln Center a culmination of sorts and a tribute to his role in the affair. D'Rivera brings his pliant ingenuity to this project, displaying every bit of his mastery on the alto saxophone as well as on the dreamy, woody tones of his clarinet, which seems born for the romance of the tango. His phrasing is immaculate, and undulates with the rhythm of his heart. Lines and phrases slide into one another with mighty glissandi, sometimes beginning with a shrill cry of delight, then swirling and pirouetting as they soar and float on their way to their inevitable denouement. On this album, he plays off the wonderful brassiness of trumpeter Gustavo Bergalli's burnished horn and the bandoneóns of Michael Zisman and Raul Juarena.
    The tantalizing brilliance of "Viejo Smocking" is memorable, as is the sweeping indolence of "Milonguinha" and "Close Encounters of the Fourth Kind." The dark romance of "Bandoneón" is one of the high points of the program, just as the hypnotic swirl of "Verano Porteño" is another. In like manner, the creativity of "Tanguajira" is one where D'Rivera marries the Cuban with the Argentinean—and the Uruguayan as well. And just as "Beto" does, so also does "Goodbye" mix various idioms with the all-pervasive tango. It is almost impossible to stop the feet from sliding and tapping to the music as they prepare to glide and guide the body into the queen of all Latin American dances.
    Make no mistake; however, as this is almost as much Pablo Aslan's journey as it is Paquito D'Rivera's. The bassist is a towering figure in the world of modern tango, and music as well. His complete mastery of his instrument and virtually all forms of music and dance is legion. Here, his spirit is all over the music even guiding the mighty work of Michael Zisman and drummer Daniel Piazzolla throughout this memorable album. Track Listing: Viejo Smocking; Beto; Bandoneón; Milonguinha; Close Encounter of the Fourth Kind; Verano Porteño; Tanguajira; Goodbye. Personnel: Paquito D'Rivera: alto saxophone and clarinet; Gustavo Bergalli: trumpet; Pablo Agri: violin (6); Nicholas Danielson: violin (7); Michael Zisman: bandoneón; Raul Juarena: bandoneón (7); Abel Rogantini: piano; Pablo Aslan: bass; Daniel Piazzolla: drums.



    Um dos maiores casos de amor na música está entre a música popular e a dança. Este relacionamento extremamente dissimulado tem se espalhado bem na música contemporânea, principalmente em excursões musicais na Europa (onde Igor Stravinsky as glorificou com suas composições) e na América Latina. Um dos mais queridos destes casos é o do tango: uma voluptuosidade nascida em paises tão distantes como Finlândia, Espanha e França, misturada com vibrações da África, e então transportada através dos oceanos para desbravar um novo mundo, onde deram uma parada principalmente na Argentina e Uruguai, onde o romance se desenvolveu até alcançar peso estonteante nas mãos de Carlos Gardel e Astor Piazzola. Este caso de amor continua até hoje com músicos como o baixista Pablo Aslan, que tem continuado a expandir o papel da literatura da música.

    O cubano e residente nos Estados Unidos, Paquito D'Rivera é conhecido por seu interminável namoro com o tango, com o disco “Tango Jazz: Live at Lincoln Center” apresenta uma culminação qualificada e um tributo ao seu papel neste caso de amor. D'Rivera traz sua doce maleabilidade para este projeto, apresentando cada pedaço da sua maestria no saxofone alto, bem como uma entonação sonhadora e consistente em seu clarinete, que parecem nascidos para o tango. Seu fraseado é imaculado e ondula com o ritmo do seu coração. Linhas e frases deslizam entre si com vigor, às vezes iniciando como um choro agudo de prazer, então rodopia e faz piruetas na forma como soam e flutuam no seu jeito inevitável de obter soluções. Neste álbum, ele toca espetacularmente com o brilhante trompetista Gustavo Bergalli e os bandeneóns de Michael Zisman e Raul Juarena.
    A provocante luminosidade de "Viejo Smocking" é memorável, bem como a impetuosa indolência de "Milonguinha" e "Close Encounters of the Fourth Kind". O romance sombrio de "Bandoneón" é um dos pontos altos do programa, bem como o hipnótico turbilhão de "Verano Porteño". Deste modo, na criatividade de "Tanguajira" é onde D'Rivera casa bem a pegada cubana, argentina e uruguaia. E como faz em "Beto", aplica a mesma combinação de idiomas em “Goodbye" com o difundido tango. É quase impossível parar de arrastar o pé e bater os pés com a música da forma como eles preparam para deslizar e guiar o corpo dentro da rainha das danças latino-americanas.

    Não tem erro. Esta jornada é quase tanto de Pablo Aslan, quanto de Paquito D'Rivera. O baixista está construindo sua imagem no mundo do tango moderno, bem como da música como um todo. Sua destreza no instrumento e virtualmente em todas as formas de música e dança é ampla. Aqui, está em toda a música guiando o vigoroso trabalho de Michael Zisman e do baterista Daniel Piazzolla através deste notável álbum.

  • Tango Grill

    Pablo Aslan

    Zoho Music 2009

    Nominated for a LATIN GRAMMY – Best Tango Album, and GRAMMY – Best Latin Jazz Album

    Tango Grill


    1. El Amanecer (Roberto Firpo)
    2. Viejo Smoking (Barbieri-Flores)
    3. El Marne (Eduardo Arolas)
    4. La Payanca (A. P. Berto)
    5. Sin Palabras (Mariano Mores)
    6. Rencor (Charlo)
    7. El Flete (Vicente Greco)
    8. Dandy (Irusta-Fugazot-Demare)
    9. La Ultima Cita (Agustin Bardi)
    10. Divina (Joquin Mora)
    11. La Trampera (Anibal Troilo)


    Nestor Marconi, bandoneon (tracks 1,2,4,6,7,9,11)
    Nicolas Ledesma, piano (tracks 1,3-5,7-10)
    Abel Rogantini, piano (tracks 2,6,11)
    Ramiro Gallo, violin (tracks 1,3-5,7-11)
    Gustavo Bergalli, trumpet (tracks 2,3,5,6,8,10,11)
    Daniel Piazzolla, drums (tracks 2,3,5,6,11)
    Pablo Aslan, bass (all tracks)

    Reviews »

    Recorded in Buenos Aires, this is a first rate mix of authentic tango and jazz, and only the latest of a series of albums from the New York-based, Argentine-born bassist.

    This CD is made for Tango in a very special way, indeed! It maintains the deep traditions of the style and form of these classic songs while improvising over the themes – all the while looking positively forward.

    One rarely speaks of tango and jazz in the same sentence, due to the lack of improvisation in the former. But bassist Pablo Aslan has pulled it off here on this spirited recording that retains all of the charm and intrigue of Argentina with the collective spontaneity of American freedom.

    Bassist Pablo Aslan has long been in the forefront of forging an alliance between jazz and the tango. His approach has been artful, keeping the body of the tango intact while letting jazz take the music into new pastures.

    To the unsuspecting ear, Pablo Aslan may sometimes appear to be just a fabulous bassist, with sublime technique and a virtuoso of limitless possibility. But dig a little deeper, especially into Tango Grill, and the impossible will seem to appear.

    New release from New York based Argentinean bassist, bandleader and producer, Pablo Aslan. The artist that keeps reinventing classic tango by forcing six other tango and jazz pioneers from Argentina to play casual, exploring improvised arrangements of songs from the 1920s

    In his latest recording, Tango Grill, the Argentine-born Aslan brings together a tight ensemble of tango and jazz musicians, West Coast and East Coast players, and jazz and tango musical languages to create musical bilingualism. But this isn’t music just for the head; this is music that is lived in, played in the dance halls, in the intimate, cozy places.

    Though you might not think of tango as "improvised", it is very much so on this splendid album and will surely be a delight to those among us who want to hear music that's created on the fly. It takes real talent and vision to do this, especially with a musical form as recognized as is tango

  • Buenos Aires Tango Standards

    Pablo Aslan

    Zoho Music 2007
    Pablo Aslan - Buenos Aires Tango Standards


    1. La Cachila (Eduardo Arolas)
    2. Bahía Blanca (Carlos Di Sarli)
    3. Tinta Verde (Agustin Bardi)
    4. Loca Bohemia (Francisco De Caro)
    5. El Pollo Ricardo (Luis Fernandez)
    6. Ventarrón (Pedro Maffia)
    7. Don Agustin Bardi (Horacio Salgan)
    8. De Puro Guapo (Pedro Laurenz)


    Pablo Aslan, bass
    Abel Rogantini, piano
    Jorge Retamoza, tenor and baritone sax
    Gustavo Bergalli, trumpet
    Daniel “Pipi” Piazzolla, drums
  • Avantango

    Pablo Aslan

    Zoho Music 2004
    Pablo Aslan - Avantango


    1. Derviche (Pablo Aslan)
    2. Deus Xango (Astor Piazzolla)
    3. Vuelvo al Sur (Piazzolla-Solanas)
    4. Sabateando (Pablo Aslan)
    5. Escualo (Astor PIazzolla)
    6. Malena (Demare-Manzi)
    7. Amadeo (Pablo Aslan)
    8. Beto (Pablo Aslan)
    9. Verano Porteño (Astor Piazzolla)
    10. El Enchanter (Pablo Aslan)
    11. Muchacha (Ojos de Papel) (Luis Alberto Spinetta)
    12. La Calle 92 (Astor Piazzolla)


    Pablo Aslan : bass
    Leonardo Suarez Paz : violin
    Dario Eskenazi : piano
    Hector Del Curto : bandoneon
    Diego Urcola : trumpet
    Oscar Feldman : tenor sax
    Roxana Fontan : vocals
    Gustavo Casenave : piano
  • Y En El 2000 También


    EPSA Music (Argentina) 1998

    Pablo Aslan with Ethan Iverson (piano) and Thomas Chapin (sax and flute) Recorded Live at The Knitting Factory 1996

    Avantango - Y en el 2000 también


    1. Bando (Astor Piazzolla)
    2. Don Agustin Bardi (Horacio Salgan)
    3. Che Bandoneon (Anibal Troilo)
    4. Tomo y Obligo (Carlos Gardel)
    5. Baires 72 (Astor Piazzolla)
    6. A Los Amigos (Armando Pontier)
    7. Telling Comment (Thomas Chapin)
    8. Petite Fleur (Sidney Bechet)
    9. Sabateando (Carta al querido y remoto muchacho) (Pablo Aslan)


    Pablo Aslan, bass
    Thomas Chapin, alto sax and flute
    Ethan Iverson, piano