Selección Argentina / En la Élite del Fútbol Mundial : Coraje, Pasión, Orgullo e Historia

Último Tango en el Maracaná

Sonaron los violines, lloró el bandoneón. Messi y compañía merecieron mejor suerte contra Alemania, pero el gol de Götze a ocho minutos del final del suplementario destiló amarga música desde las tribunas. Subcampeones, como en 1930 y 1990.

Por Juan José Panno - Desde Río de Janeiro

Atención, señoras y señores, que va a dar comienzo una velada danzante mundial que se las trae, con figuras de primer nivel que harán vibrar a la concurrencia que se ha dado cita en esta especie de catedral del fóbal y la música popular. Y para no demorar más la ansiedad, vamos con los intérpretes.

Lleva la pelota Messi y tira una pared con Goyeneche y más que pared es un paredón y después Homero, que puede ser Manzi o Expósito, la deja como una naranja en flor y viene el alemán Hummels y rechaza, y hay que volver a empezar, y con cuidado porque los alemanes son muñecos bravos y mejor invoquemos al maestro de la buena suerte... ¡Pugliese, Pugliese, Pugliese!, y da resultado porque un alemán la tira para atrás y el Pipa Higuaín queda solo y es una papita, pero ¡qué me van a hablar del gol!, dice Neuer y la pelota se va afuera. El partido se pone de a ratos fulero y sigue el baile al compás del tamboril de los brasucas, pero no dura mucho, porque en este Mundial nada les dura mucho a los hermanos brasucas y porque está Mascherano y empujan Cadícamo, Eladia Blázquez, Discépolo y Salgán para que el tango salga lindo y Mascherano meta y ponga, meta y la pone para Lavezzi, la ve, sí, la ve bien y como con bronca y junando se la deja a Higuaín, y el Pipita la toca de zurda y la manda a guardar y hay alegría en la milonga, en la cancha, en el barrio, en el país entero, en medio de la malaria.

Hay alegría, pero es falso oropel, porque resulta que el línea dice no sé qué cosa de la vida en orsai y el tiempo loco y el cero a cero manda cruel en el cartel. Y no tanto porque un chabón que nunca falta hizo correr la bolilla de que se podía cabecear en el área de Romero si Romero no sale a cortar, y Höwedes cabecea y por una cabeza casi nos quedamos en Pampa y la vía, pero el palo salvó las papas.

Y vamos al segundo tiempo y se intuyen cambios, y uno sabe que ahora vendrán caras extrañas y uno se extraña porque sale Lavezzi que había sido el rey del bailongo en el primer tiempo y aparece el Kun Agüero. Y ya se sabe que en este campeonato, por lo menos, Agüero no es Gardel. Gardel puede ser Messi si hace el gol que le queda servido cuando se va por zurda, pero la pelota no comprende que la estamos llamando para que se meta junto a un palo y se va, junto al palo pero del lado de afuera. Y vuelta a empezar.

El partido de a ratos se pone áspero y la bestia de Schweinsteiger se va de la cancha porque le sale sangre de la nariz y Agüero pregunta qué le habrán hecho mis manos, qué le habrán hecho. Y el alemán dice que primero hay que saber sufrir y casi la calza Kross, pero la pelota no quiere saber nada y tampoco se engancha con el Kun Agüero, que llega bien y que puede tocar como Baffa, como Mederos, como el Gordo Troilo, pero no le dan los fueyes a Agüero y se lo ve que se ladeaba, se ladeaba y al final tira un tirito y no pasa nada.

El trompa Sabella tira la bronca cuando un purrete se cuela (y lo caza la taquería) pero más tira la bronca porque se pierden muchos goles, muchachada loca. La de Messi, la de Higuaín, la del orsai y ni qué hablar de la de Palacio, que lo midió a Neuer, lo midió y, qué desencuentro Palacio, quisiste darle con ternura y el miedo te devoró de atrás y te salió un tiro con la canilla. Goles que se pierden y que son como gotas de vinagre derramadas sobre las heridas y el gol es la esperanza que no llega, que no alcanza y no puede vislumbrar la tarde mansa y lo que se vislumbra son los penales y araca corazón, si hay que ir otra vez a una definición por penales, pero no porque cuando el antiguo reloj de cobre marca que sólo falta un puñadito de minutos, cuando colorado el 19 el tal Götze la baja con el pecho, porque en esa jugada la defensa argentina es más frágil que el cristal, y tira y es gol, y lo gritan los alemanes y más lo gritan los brasileños, rencor, mi viejo rencor.

Es el final, el último tango en Brasil y ya se sabe qué es lo que se siente, ganas de llorar se sienten en esta tarde gris que se hace noche llena de hastío y de frío, y hay pena pero no habrá olvido, porque nadie podrá olvidar la dignidad y la grandeza de estos purretes. Y no hay remordimientos de saber nada porque no hay culpa de nadie. Fuimos. Pero ya te volveremos a ver Copa del Mundo, ya te volveremos a ver. Chan chan.

http://www.pagina12.com.ar/diario/deportes/8-250709-2014-07-14.html

Mundial 2014: Homenaje de la TV Pública a la Selección Argentina

Charlie Haden / A Sad Good Bye For Mr. Haden

Charlie Haden, Influential Jazz Bassist.


By Nate Chinen  - July 11, 2014

Charlie Haden, one of the most influential bassists in the history of jazz, died on Friday in Los Angeles. He was 76.

His death was confirmed by Ruth Cameron, his wife of 30 years. For the last several years he had been struggling with the degenerative effects of post-polio syndrome, related to the polio he contracted in his youth.

Mr. Haden had a deep, grounded way with the bass and a warm, softly resonant tone. His approach to harmony was deeply intuitive and sometimes deceivingly simple, always with a firm relationship to a piece’s chordal root. Along with his calm, unbudging rhythmic aplomb, this served him well in settings ranging from the ragged and intrepid to the satiny and refined. His own acclaimed bands, like the Liberation Music Orchestra and Quartet West, handily covered that stylistic expanse.

His jazz career crossed seven decades, with barely a moment of obscurity. He was in his early 20s in 1959, when, as a member of the Ornette Coleman Quartet, he helped set off a seismic disruption in jazz. Mr. Coleman, an alto saxophonist, had been developing a brazen, polytonal approach to improvisation — it would come to be known as free jazz — and in his band, which had no chordal instrument, Mr. Haden served as anchor and pivot. Mr. Coleman’s clarion cry, often entangled with that of the trumpeter Don Cherry, grabbed much of the attention, but Mr. Haden’s playing was just as crucial, for its feeling of unerring rightness in the face of an apparent ruckus.

In addition to Mr. Coleman, with whom he continued to play intermittently in the 1960s and ’70s (and later, in the occasional reunion), Mr. Haden worked with many principal figures of an emerging jazz avant-garde. For a decade starting in 1967, he was a member of a celebrated quartet led by the pianist Keith Jarrett, with Dewey Redman on saxophone and Paul Motian on drums.

The Liberation Music Orchestra, which released its debut album in 1969, was Mr. Haden’s large ensemble, and an expression of his left-leaning political ideals. The band, featuring compositions and arrangements by the pianist Carla Bley, mingled avant-garde wildness with the earnest immediacy of Latin American folk songs. Mr. Haden released each of the band’s four studio albums during Republican administrations; the most recent, in 2005, was “Not in Our Name,” a response to the war in Iraq.

Mr. Haden, who liked to say he was driven by concern for “the struggle of the poor people,” hardly restricted his opinions to the Liberation Music Orchestra. While playing a festival with Mr. Coleman in Lisbon, in 1971, he dedicated his “Song for Ché” to the black liberation movements of Mozambique and Angola, and was promptly jailed.

Charles Edward Haden was born in Shenandoah, Iowa, on Aug. 6, 1937, into a brood of musicians called the Haden Family. Prominent on the Midwestern country circuit in the ’30s and ’40s, the Haden Family had a radio show, on which Mr. Haden made frequent appearances as a yodeling toddler known as Cowboy Charlie.

His own children are also accomplished musicians: His son, Josh Haden, is a singer-songwriter, and his triplet daughters, Petra, Rachel and Tanya Haden, have worked as the Haden Triplets. (In 2008 Mr. Haden released an album, “Rambling Boy,” credited to the Haden Family, featuring his children and a slew of guests in a rootsy style.) Mr. Haden is survived by his children, and by Ms. Cameron; by his brother, Carl Haden Jr., and his sister, Mary Davison; and by three grandchildrem.

For a while after taking up the bass, Mr. Haden played only country music, notably as the house bassist on “Ozark Jubilee,” a network television variety show broadcast from Springfield, Mo. He stopped singing at 15 when he contracted bulbar polio, which affected nerves in his face and throat, threatening his ability even to speak.

One night in Omaha he saw a Jazz at the Philharmonic concert that featured the saxophonist Charlie Parker, a trailblazing hero of bebop. “It was country music all the way for me until I heard Bird in 1951,” he said in an interview in 2008. He moved to Los Angeles, where he connected with the pianists Hampton Hawes and Paul Bley and the saxophonist Art Pepper before falling in with Mr. Coleman.

“People ask me how could I go from country to jazz,” Mr. Haden said. “It’s been a natural convergence for me.” His sensitive ear for pitch, sharply honed throughout a childhood of vocal harmonizing, perfectly suited the needs of Mr. Coleman’s music. “Lonely Woman,” their best-known piece of music together, essentially features a bass melody flowing beneath the plaintive main theme. And in “Ramblin’,” another early Coleman classic, Mr. Haden finishes a bass solo with a quotation of the Southern fiddle tune “Old Joe Clark.”

For all his affinities with the avant-garde, Mr. Haden was a lifelong proponent of melody, and he pursued that interest with often impeccable results. Quartet West, a longtime band with the tenor saxophonist Ernie Watts, the pianist Alan Broadbent and the drummer Larence Marable, applied a burnished touch to an old-Hollywood repertoire; its sound was lush, romantic and unabashedly tinted with nostalgia.

Mr. Haden also recorded albums with strings, including “American Dreams” (2002), and albums of duets with sensitive partners, notably the pianists Hank Jones and Kenny Barron and the guitarist Pat Metheny. The duo album he made with Mr. Metheny, “Beyond the Missouri Sky,” won Mr. Haden his first Grammy Award in 1997. His two others were for albums of reimagined Latin American standards, “Nocturne” and “Land of the Sun.” Both featured the Cuban pianist Gonzalo Rubalcaba.

Mr. Haden, who founded the CalArts Jazz program in 1982 and taught generations of musicians there, was recognized as a National Endowment for the Arts Jazz Master in 2012. He received a lifetime achievement honor at last year’s Grammy Awards, though his health prevented him from attending the ceremony.

His most recent release is “Last Dance,” recorded with Mr. Jarrett in 2007 and released last month. At least one posthumous album has already been scheduled: a concert recording made in 1990 with the guitarist Jim Hall, who died last year.

At the heart of Mr. Haden’s artistic pursuits, even those that drew inspiration from sources far afield, was a conviction in a uniquely American expression. “The beauty of it is that this music is from the earth of the country,” he said. “The old hillbilly music, along with gospel and spirituals and blues and jazz.”

http://www.nytimes.com/

Charlie Haden - New Begining - The Montreal Tapes -  Recorded Live on July 1989