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The Absolute Sound’s 2007 Golden Ear Music Awards
Vibrations, Le disque du mois

If I were to tell you that four month into 2007, I already had a nomination fort he year’s best-sounding record, you might think me daring. If I told you that it features bandoneon and cello, you’d probably think me barking mad. But there it is. … What’s astonishing about the music is the amount of tonal color the two instrumentalists coax out of not just their instruments, but their interplay. Melodic lines shift effortlessly from cello to bandoneon and back again. Both Saluzzi and Lechner are superb continuo players, keeping the performances moving forward without endlessly recapitulating the same passages.
Wes Phillips, Stereophile

Before virtuoso Argentine musician–composer Astor Piazzolla came along in the mid–50’s, the bandoneon (button squeezebox) was primarily known as a sailor’s ‘toy’ accordion.
Twelve years after his death, there’s but one cat with instrumental and compositional chops audaciously iconoclastic enough to walk in El Maestro’s boots: Dino Saluzzi.
The album finds Saluzzi beautifully linking up with Lechner, cellist of the Rosamunde Quartet, to take tango to a dark noirish place that Piazzolla lovers dream of.
Tom Terrell, Global Rhythm

The combination of bandoneon and cello sounds exquisite. The rasp of the former curls against the plangent cry of the cello like an old lover. Saluzzi and Lechner take that textural relationship to rapturous places, performing seven Saluzzi compositons and Vicente Greco’s title work with passion and breathtaking drama.
DownBeat

The duets between the Argentine bandoneon player and the German cellist are obsessed with romance and injected with filigree. The new Ojos Negros can be wickedly intricate, but the lithe nature of the musicians’ interplay always makes it disarmingly natural.
MacNie, The Village Voice

Lechner, Saluzzi’s longtime collaborator, is an ideal duet partner. She’s an insightful interpreter and a performer who listens closely and responds with sensitivity. She also plays with great immediacy, a distinctive elegance, and an achingly beautiful tone.
Saluzzi has perhaps taken the bandoneon further than anyone who’s ever played. … Together, they achieve an exquisite balance, and at times, such as on “Minguito,” they sound as one sonorous voice. Even as they skirt conventional musical form, Saluzzi and Lechner evoke a deep sense of sadness and beauty that’s universal to human experience.
Ed Hazell, Jazziz

Hier zuckt kein Tanzbein, dominiert kein Milonga-Machismo, was vielleicht daran liegt, dass Saluzzi aus der hübschen Provinzhauptstadt Salta in den Kordilleren stammt und nicht aus Buenos Aires. … Anja Lechners Finesse und wundersam verhaltene Phrasierung tragen zum ungewöhnlichen und dennoch so argentinischen Charakter dieser Musik entscheidend bei – Sehnsucht nach dem Gewesenen. Eine stille Sensation.
Volker Tarnow, Partituren

Wenn Saluzzi seinen Balg flüstern und rauschen und singen lässt, schafft er Erinnerungsräume von leuchtender, suggestiver Schönheit. Eine melancholische Magie geht von seinen eigenen Geschichten aus, und aller verfallen ihr, an denen noch eine Sehnsucht zieht, ein namenloses Heimweh nach Irgendwo und Langvorbei. …
Am vollkommensten gelingt diese Magie der Erinnerung, der Entwurf von wechselnden dunkelfarbigen Seelenlandschaften, wenn Saluzzi allein ist mit seinem Bandoneon. Dachte ich, bevor ich seine jüngste CD hörte, ein Duo mit der Cellistin Anja Lechner. … Die ungleichen Instrumente verschmelzen zu einem Einklang, zirkeln tänzerische Rituale, entwerfen spielerische Dialoge, verschlingen und entschlingen sich – nicht auszumachen, wo der Diskurs improvisiert, wo er auskomponiert ist. Jazz? Ach was, einfach intimste Kunst von großer Intensität und Vollkommenheit.
Peter Rüedi, Weltwoche

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