Until I read "¡Tango!", most of what I knew from tango was what was told by instructors, including Daniel Trenner, Brooke Burdett, half a dozen Argentine nationals, an equal number of Canadians, and a Belgian. It was exciting to get all the information I needed in one place. Tango is more than just music and dance. It is a cultural phenomenon that began in the barrios and bordellos of Buenos Aires and Montevideo, and spread throughout the world. At the base of this cultural phenomenon is the relationship between a man and a woman. Tango is not just an American or South American phenomenon. It has spread throughout the world, and is popular in such diverse countries as Finland and Turkey, as well as those areas where it evolved.

The text of the book is outstanding and well documented. I was pleased with the choice of artwork, old and contemporary photographs, and page layout. It gave me a great understanding of the tango as a cultural phenomenon. There is an excellent bibliography and the text is referenced with footnotes for those who wish to go to some original sources. I am one of those people who are always looking for recommendations for music, and I was pleased to see a two-page listing of tangos, which are available on compact disc. For those who travel, there is a listing of international tango centers. It is an incomplete list, but it would be helpful for those who travel a lot for business or pleasure.

If you like tango, this would be a good book to start your collection. Then you can proceed with "Le Grand Tango: The Life and Music of Astor Piazzola."

For a person just discovering the Argentine tango (or who wants to), this is an interesting, beautiful, coffee table book. It's filled with gorgeous illustrations and photographs, as well as poetry, lyrics and fun, historical tidbits about the music & history. It rambles, but that just makes it more fun to open it up and start reading from anywhere. It's been the kind of book that has made even my non-tango friends interested in the dance and cultures behind it.

This is the best and most complete document about the life and work of Astor Piazzolla. The authors inter-link Piazzolla's work with the major events of his life and the artistic and political context of the time. If you are really interested in learning about Piazzolla, you should go ahead and buy this book.

Nearly ten years after Astor Piazzolla's death, the debate still rages about whether or not his music is "tango". Well, some of it is, and some of it isn't. But the roots of all his music lie deep in the tango tradition and whether or not a particular piece is or isn't tango is of no real importance. The fact is that Astor Piazzolla composed some of the finest music in any genre and all Argentines can take pride in that. I have been a fan of Astor Piazzolla for nearly 30 years but only knew the music. After having read Le Grand Tango, I now feel as though I know the man. Having "met" him, my understanding and admiration of both the music and the man has increased exponentially. Azzi and Collier have authored an easy to follow, entertaining and informative book about El Maestro. One learns not only about his music but about his forceful personality and the forces which shaped Piazzolla and drove him to be the most dazzling musician of the 20th century. His life, his loves, his triumphs and his failures all spring to life here. Though most readers will likely be hardcore fans of Piazzolla, its flowing style makes it an engaging hagiographical read for anyone who has even a mild interest in music history or in the forces and personalities which have shaped and regenerated tango throughout second half of the 20th century.

Piazzola means tango for many people. The first tango music I ever purchased was Piazzola's music. His music dominated Sally Porter's movie, "Tango Lesson." This is a man that you must know about if you like tango, the dance and the music. Even if your interest is 20th century music, you will be fascinated. The story of Piazzola's life is a story of how cultures, music, and people are interrelated. As a person who was born in Argentina, his music was tango; as a kid named "Lefty" who grew up in Manhattan, he felt the influence of jazz. As a musician known as "El Gato," he built on the tango traditions of Troilo, Sarli, and Pugliese.

He began his musical career as a musician who could not read music. Anibal Troilo hired Piazzola because he had memorized the band's repertoire. He studied music and composition while playing in tango groups, and went on for more formal training in Paris. Piazzola loved everything from the classical music of Rubenstein to the jazz of Gershwin. Although we think of Piazzola in terms of tango, many of his contemporary tango aficionados hated his music because it was nontraditional, evolutionary, and avant gard.

This book was of value to me because it increased my understanding not just of Piazzola, but also of the major twentieth century tango musicians and composers. It may not make me a better dancer, but the increase of knowledge added to my appreciation of the music not just of Piazzola, but also of Pablo Ziegler, Romulo Larrea, and Felix Leclerc. It was a fitting complement to "Tango!" a collaborative book by Simon Collier, Artemis Cooper, Maria Susana Azzi, and Richard Martin. You don't have to be a serious student of music to enjoy either book. It will add to your appreciation of tango.

This book is very hard to read because of its dullness.

As I read it, I was thinking that the book read as if written by an undergraduate: A compilation of a bunch of facts from many sources (usually without a reference) and with some remarks that lack any analysis (like blaming on neo-liberal policies the increase in Smog in the city of Santiago (!)) -if only we had followed the soviet union, we would have clean air-.

This doesn't look like the work of a scholar (or of someone with a talent for writing for that matter), but rather of a couple of foreigners with an interest in Chile who said, "hey, we could write a book about this country".

The real problem with the book is not its bias (or lack of it) but rather that it is just very hard to get oneself to read through it because it lacks insights, parallels with other situations in the world, witty remarks, etc. (i.e. what makes good books good).

It reminded me of why I hated history in high school.

It is very important that foreigners study the history of Chile. But sometimes it is better to know the reality of the country and have an impartial view towards recent historical facts. For instance, the book does not tell how Alende's regime was driving the country to become a communist state, and how the extremist forces of the "Unidad Popular" were preparing a civil war against the bourgeois institutions. The military uprising of September 1973 was invoked by the Chilean Supreme Court and the Chilean parliament, as the only way to avoid that my country would be turned into a second Cuba. That is the real fact, and the origin of the military government. Said government commited some abuses, but restored Chile's economy and by its own will reestablished democracy. And we, Chileans, will always remember that were saved from a communist-started civil war, which would have brought not 3.000 (the total number of victims of represion) but millions of deads. So, when foreign historians write regarding Chile, they should be more careful when taking into consideration the true realities which we lived in the sixties and seventies.

I only want to inform you that this book was translated to spanish by Milena Grass K. and published in 1998 by Cambridge University Press in 1998. ISBN 84 8323 033 X rústica