Under the direction of Alejandro Diez, the marathon like recording of the Shipyard Julián Peralta Orchestra “A Shot in the Night” is documented. In 70 minutes, the documentary condenses and reflects the five and a half hours of recording, and adds everything that happened around the Orchestra (rehearsals, putting together of the themes, the tours, etc.).
The recording work that Juan Peralta, pianist and director of the Shipyard Orchestra handled showed up as a response to a press publication in which someone said that there were no longer tango composers. It replied, “That is nonsense… We have, to begin with, twelve authors, twelve musicians and twelve tanto singers, that being only the tip of the iceberg, because there are many more”.
He later added that “It’s about showing everything new that is happening with the genre songs, because regarding musical instruments, there are many groups which are holding the situation together very well. The song, however, means greater difficulty. When the time arrived in which there were a considerable amount of tango songs of “under” characteristics, from shacks and poor neighbourhoods, I came to understand that it was important to make them visible”, Peralta insists when talking about his task expressed in sound and images.
The documentary respects the chronology of its soundtrack. “Vuelve el Tango” (Alorsa por Otaño), which means “Tango Comes Back”, which the director decided to leave without its music due to aesthetical honesty reasons, is first presented. “The truth is that I can’t make arrangements on any of Alorsa’s work and expect it to sound well. His work is wonderful, and yet relaxed, while I write more obsessive and fastened things. My conclusion was: the word will he recited without music, because if I add the music, I will ruin Alorsa’s work, I will destroy his sense of humour”, he laughs.
After that, the torn tango – murga Miguel Suárez’s “Perdidos” interpreted by Aureliano Marín is heard and seen, the intimacy of “Regin’s” rehearsal, a piece from Tape Rubín addressed by Juan Villareal at the Orlando Goñi Theatre, the recording of Juan Seren’s mordant “Algunos miran, otros hablan”, which means “Some Look, Others Speak”, sung by the charismatic Black Rodriguez Méndez; “Hoy”, which means “Today”, interpreted by Juan Subira’s voice and a linked come about of tango’s from the era: “Cadencial”, authored by Peralta himself and Federico Maiocchi, sung by Julián Bruno; “Mi involución”, which means “My Involution”, by Acho Estol sung by Cucuza Castiello; “Para Siempre”, which means “Forever”, by Elbi Olalla, interpreted by Victoria Di Raimondo; “El tango que no silbó” which means “The Tango that Didn’t Whistle”, written by Subirá and Salvador Batalla and interpreted by Miguel Suárez; “Capataz”, which means “Chief”, by Peralta and Guyot sung by Guyot; and “Rumba y tres saltos”, which means “Rumba and Three Jumps”, by Pepe Céspedes and Ariel Prat, interpreted by Prat himself, pieces that flow into “Rocanrol”, a ig theme by the oriental author Edu “”Pitufo” Lombardo, tackled by Omar Mollo.
“A gypsy read in the coffee’s dust that Tango is coming back”, recites porteño Martín Otaño, and this inaugural phrase is put into practice by means of images. Tomas de Omar Mollo recording the Uruguayan “Rocanrol”, aswell as Aureliano Marín from Córdoba, as Juan Subirá, as Hernán “Cucuza” Castiello, as Alejandro Guyot and Ariel Prat, amongst other, doing the same thing, offering their voices for “A Shot in theNight”, a tango – song record (sustained on images) which determines an intention: to reflect a genre’s return, underground and slow, yet constant and alive movement, to the city which gave it birth. “Tango is coming back, gentlemen; let it come come, for this is its home”, continues reciting Otaño honouring the author of “Vuelve el Tango”, the heroe who is no longer here: Jorge “Alorsa” Pandelucos.
This documentary not only registers the recording of a new record, it is also a testimony that proves we are moving through a new Golden Era, in which Tango adapts itself, as a popular genre, to the new urban reality. Tango isn’t dead. It doesn’t even have a cough.