Piazzolla in New York (IV): Rausch on Piazzolla, 1958-1960

Portada de Take Me Dancing

Piazzolla is one of the best-known Argentinian musicians in the world, even though he died over twenty years ago. He knew international acclaim, worked with great artists, flew over stylistic boundaries and reached different countries and audiences... However, between his upward rise culminating with the artistic success of his Octeto Buenos Aires, and the turning point marked by “Adios Nonino”, the requiem to his father, who died in late 1959, there were two years of misty uncertainty, spent mainly in New York City, from February 1958 to June 1960. While the city was bursting with all kinds of music (in a especially glorious year for jazz) and the US was, more than ever, the most powerful country in the world, reaching the end of Eisenhower's years at the helm, Piazzolla was struggling with the American dream. His recollections of it, bittersweet, hardly come up in the memoirs compiled by with Natalio Gorín.

The New Yorker, January 30th, 1960. The "collection of
Argentinians" refers to Copes, Piazzolla, Rausch & co. 

The portrait of Piazzolla's life in New York is somewhat blurry. Beyond the stories of those who knew or worked with him, his name hardly appears among press notices; even though these note some of his perfomances, he rarely gets a name check, nor does dancer Juan Carlos Copes, whom Piazzolla worked with from the second half of 1959 to the beginning of 1960. Copes himself has told the story of how the fire brigade had to be called to deal with the crowds at Waldorf Astoria where they performed there, but those were probably due more to headliner Eddie Fisher than to a sudden tango fever sweeping Manhattan. The great Piazzolla was, in fact, just another anonymous musician among the thousands who made a living in late-1950s New York, a golden age for studio work in the city.

Argentinian Carlos Rausch was a pianist and copyist for hire in New York at the time, and he worked with Piazzolla oftentimes. This is part of his first ever interview about Piazzolla (see this previous post for more), for which he listened to the albums Take Me Dancing and Evening in Buenos Aires, recorded by Piazzolla in New York in 1959, also for the first time. The following is my translation of the original interview, which was made in Spanish.

Carlos Rausch and Astor Piazzolla, New York, May 1959
(© Carlos Rausch)

Piazzolla in New York (II): Take Me Dancing (1959)

In the previous post, we introduced Piazzolla's Take Me Dancing and Pablo Aslan's 2011 remake. This one is about Piazzolla's original recording.

Piazzolla, aged 37, arrived back in New York at the beginning of 1958 (he had lived there, aged 4-15). It took him some time to settle, but soon enough he was working regularly as an arranger for Roulette Records, through a good word put for him by fellow arranger and bandleader Johnny Richards. By that time, he was already reunited with his wife, Dedé, and his teenager offspring, Diana and Daniel. In New York he recorded two records as a leader, Take Me Dancing, his attempt at a jazz-tango fusion, and a more inocuous one, which rested in the vaults till 1994, when it was first released in Japan as Evening in Buenos Aires (P-Vine PC-2885).

Carlos Rausch, pianist and orchestra conductor, is now 88 and lives in the US. Like Piazzolla, he moved to New York in 1958 and there he worked with him as a pianist and score copyist. Furthermore, they saw each other frequently, paying visits to each other's homes. Even though Rausch is a prime witness to this brief moment in Piazzolla's life, he had never been interviewed about him before. Although he played piano in Take Me Dancing, he had never listened to the record until now, either.

In future posts Rausch will talk about Piazzolla and New York at length (although next up is all about discographical minutiae); here, he reminisces about Piazzolla's infamous recording. The following is my translation of the original interview, which was made in Spanish.