Review: Live Performance at Verdi Club, San Francisco
Review: Solo Tango, Vol 1. Glover Gill
BY DAVID LYNCH, The Austin Chronicle, April 11, 2003:
A former member of Austin's best gypsy swing band 8 1/2 Souvenirs and the prime mover of the much-feted Tosca Tango Orchestra, Glover Gill is justifiably one of the best-known pianists in town, gracefully melting jazz, Western, classical, ragtime, and tango. Converging his gifts and concentration into Argentina's most famous musical export -- a confluence of Italian, indigenous, klezmer, African, and Spanish streams -- Gill and Tosca have had many successes with tango, including the soundtrack for Richard Linklater's film Waking Life and 2001's impressive 2-CD set, La Cuidad del Tango. As both music and dance, tango wouldn't be around for over 100 years if it didn't tap into some lasting vein of human expression. A solo piano album of tango music from this ivory tickler, therefore, comes with great expectations. And Gill doesn't disappoint. The 13 tracks span the better part of last century, with "Ojos Negros" dating from 1910 and "Milonguita Irmita" written by Gill last year. As dance music, tango has a definitive meter, but there's also a joie de vivre playfulness. Atmospherewise, the hourlong disc possesses a graceful, in the parlor, recording imprint. And while Solo Tango Vol. 1 is as difficult to perform as any Bach counterpoint or Liszt romantic flourish, Gill creates a gossamer patina over its muscular skeleton. An exceptional tango primer as well as an example of what can be done with a piano, Solo Tango is as good as any tango and/or piano recording. Anywhere, anytime.

Review: Solo Tango, Vol.1. Glover Gill
By Valorie Hart, El Firulete, June, 2003:
When a new player comes along that really stands out both for virtuosity and for presenting a truly personal point of view, while maintaining respect for the classic tangos of yesteryear, we can all feel true excitement.

Let me recommend the new CD by Glover Gill “Solo Tango“ (vol. 1). Some of you may know Glover from his tango band Tosca. He’s been on the music scene for some years in Austin, Texas. He came on the tango horizon a few years ago, an incredible looking guy with muscular tattooed arms, playing ass kicking accordion. Tosca offered great musicians playing mostly Glover’s original works.

For the then new tango craze - with a crazed first wave of Argentine tango dancers, newly discovering the great Golden Age tango orchestras, composers and poets, with the fervor of converts, fanatics, born agains and cultists - Tosca didn’t make much of an impression. The group was well loved where they played live at local venues in Austin, by the local dancers.

Here Glover Gill is solo. The CD is again beautifully packaged. But here sits Glover in shirt and tie, his face in shadow, his hands poised over the keyboard of a piano. Thirteen selections, ALL breath taking. Many classics, some unexpected! Canaro en Paris, La Cachila, Inspiracion, Ojos Negros, Malena, La Maleva, Adios Nonino, La Cumparsita, Palomita Blanca. Also, incredible renditions of  Pavadita, Responso and Recuerdo which will send chills all over your body and bring tears of emotion. One selection composed by Glover, Milonga Irmita, fits nicely.

Finally a new tango CD that is something original, with an understanding and respect for the classics, that sounds fresh and exciting and heartfelt.  It makes one wonder when and if he can carry this off with an orchestra. Di Sarli and Pugliese were a couple of piano men who achieved greatness with their orchestras.

Review: La Ciudad del Tango. Tosca Tango Orchestra; 2-disk set
By David Lynch, The Austin Chronicle, February 2, 2001:
Local outfit Tosca sets their sights high on La Cuidad del Tango, using two CDs to tell their peerless tango-plus story. Compared to some of their earlier recorded work -- such as the best-of-year Tia Pamelita and elegant, rewarding Amado -- the acoustic eightpiece is simultaneously more relaxed and a bit more adventurous on La Cuidad del Tango, delivering the subtle sophistication of a chamber ensemble, wrapped in the dramatic flair and energy that is uniquely tango. While the majority of the 15 enchanting songs here were written by tango über-composer Astor Piazzolla, bandleader and accordionist Glover Gill arranged all of the songs, also writing a handful of compositions, including a tango-seasoned, lighter-but-still-experimental tribute to White Album-era Beatles with "Tango Revolution 10." Lending their formidable talents are Argentinean singers Yasmin Ventura and Alberto Cabañas, who shine throughout, but particularly on "Balada Para un Loco," and opener "Vuelvo al Sur," respectively. The flowing "Calambre" is as pastoral as it is urbane, the nearly 10-minute "Rondo" descends with the grace of a Beethoven piano sonata, and "Trio" is simply a stunning piece of music. Mostly recorded live in the living room of Gill's South Austin home, La Cuidad del Tango captures the ensemble at their finest.

Review: Amado. Tosca Tango Orchestra
By David Lynch, The Austin Chronicle, December 3, 1999:
Hats off to Glover Gill. Not only is he one of the more technically and emotionally mature keyboardists in Austin, now Amado clearly confirms he's a damn fine writer as well, penning eight of 10 gorgeous tracks on Tosca's second release. The two remaining tunes are worthy as well; "Tango para una Francesa," the sole vocal track, was written and sung a Français by the honey tenor of Robert Ashker Kraft. The other, "Primavera Porteña," was crafted by none other than the luminary Tango master Astor Piazzolla. The classically trained Tosca ensemble -- violinists Leigh Mahoney and Lara Hicks, violist Ames Asbell, cellist Sara Nelson, bassist Erik Grostic, pianist Jeanine Attaway, and Gill on accordion -- seamlessly mixes European chamber music with the lovely cadence of South American tango. Amado opens with two short works, the delightfully accelerated ostinato of "El Cholulo," and the piano/bass spun "Otoño." Guest clarinetist Ben Saffer adds a moving appearance on the seven-minute joyride "Ballade Three: E B G," where the entire group plays together as gracefully as a symphony of floating autumn leaves. Better still, the subtle nature of the compositions breathe and live within the one-mike-in-the-room intimate recording aesthetic. Chapeau à eux!

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