Argentyńskie tanga i renesansowe madrygały z Italii
"BAM" (Buenos Aires Madrigal) is an imaginary journey taken by three friends, two Argentinians (Eduardo Egüez and Francisco Gato) and an Italian (Sabina Colonna Preti), born of the meeting and mutual exchange of their cultures through time. BAM is about "yesterday" with the Italian emigrants who were looking for a new land overseas and about "today" with the Argentinians who go to Italy in search of their origins. It`s about "today" with those Italians crazy about the tango, who dance until dawn in the most famous clubs in Buenos Aires, and about "yesterday" with the Italian-Argentinians who sang in the "boliches" of La Boca. BAM is a journey through the fundamental themes which are present in these two worlds: migration, loneliness, contrast, absence, dance and death. It`s a journey which began a few years ago when Eduardo Egüez heard an Italian Madrigal from the XVII century performed by a consort of violas da gamba. At that time, the music seemed to have an Argentinian "flavour", something which took me back to Buenos Aires, to the bellows of a bandoneón. BAM is an intense journey which passes through the soul and excites the emotions. After the first transcriptions, aimed at adapting the tangos to the sonority of the consort of violas da gamba, came the greatest surprise, with the reading of the tango texts and their similarities to the Italian Madrigal. Love: happy or betrayed, disillusioned or distant; departures: meetings and farewells; faces: loved, lost or desired. BAM was thus born, with tangos and madrigals "singing", each in their own tongue, the great themes which have accompanied Man throughout his history and which accompany each man during his own personal history. In particular "absent love" is portrayed as an exercise in nostalgia. Any art form is born of a fusion, that is why "early fusion" (the new collection from the MA Recordings label, with Eduardo Egüez in the lead) opens the doors to music without limits and invites old instruments (lutes, violas da gamba, cornets, dulcianas, etc.) to participate in a repertoire which goes beyond the horizon imagined for them, at the same time it allows the instruments of today to "wander" and improvise through the most beautiful pages of old music".