Filmmaker Miguel Kohan offers an affectionate tribute to the grand old men and women of tango in this documentary tracing the career of the exceptional musicians from the 1940s through the new millennium. While some outsiders see tango as simply a dance, to many Argentineans it is literally a way of life - especially the citizens of such cities as Buenos Aires, Montevideo, and Rosario. Within these cities dwell some of the very same people who drive tango to popularity back in the 1940s and 50s, some of them still performing the same dances that they did during the golden age of tango.
Like most Spanish maestros de capilla, Puebla, Mexico, Padilla composed a great number of chanzonetas or villancicos. These charming and melodious works encompass exquisite charm and refined elegance to unabashed humour; they are frequently framed with dance rhythms, often in a characteristic uneven triple time with abundant syncopation. All the words in this gender have melodic instrumental lines and accompaniments with great variety of possibilites: from a solo voice to a full choir.
The instruments were characteristic of Renaissence music: recorders, dulzian, shawms, cornets, voils, organ, crumhorns, etc. In Mexico, villancicos achieved such popularity that they were published even when paper was very scarce, and important works such as some writings of Sor Juana Inés de la Cruz could not be printed.
In the middle of the 1990s the album Black Coffee was produced, an enigma in Kaas' career. In 1995 it was decided to produce a work specially for the American market containing exclusively English lyrics. Rumours state that the album was never officially sold. It occasionally becomes available in online auctions, however, but the authenticity of these records is in doubt.
The fourth album of Coeur de Pirate, or Béatrice Martin, was born out of a difficult time in her life. After finishing her third album, Roses, and playing around 250 shows, she was exhausted, struggling with OCD and pushed to her breaking point.