LA PRENSA - Buenos Aires,january 19 of 2003Remarkable mixture of talents is the one that comes from this Ventarrón Quintet, that gets rich with the art and the skill of five musicians of prestige : César Angeleri, Néstor Basurto, Roberto Calvo, Gustavo Margulies and Marcos Ruffo. The biggest merit of this group is to have known how to give the time and the necessary form to topics of diverse origin. From the "Danzarín" (Dancer), of Julián Plaza, to the "Milonga de mis amores" (Milonga of my love), of Láurenz and Contursi, going through beloved waltzes like "Palomita blanca" (Litttle and white pigeon), everything has the charm of that made with high respect.

Buenos Aires, 29 de agosto de 2002 I was raised among guitarists. My father, Don Taco, had an academy in his house. There, he used to form a number of guitar groups with his students. I was born in the 40s and, since a little boy, I listened to those groups, for among games, I did like to witness the ‘toccata’ that, in general, was of classic music ... However, my father was also a tango lover, then, he prepared for these groups music of the city. When I was four I liked these sounds and there, I learned many tangos of those I didn't even know the name. Later, at five, I began to play the guitar under the direction of my father, and when I was 18, I became part of the tango group “Los muchachos de antes”, where we played the “guardia vieja” tangos. Afterwards, in my thirties, Astor Piazzolla summoned me to play in the Quintet, and there ... I did discover a new tango, more elaborated.
I mean this to demonstrate that I know enough of tango, for having played different styles. For that reason, it was very pleasant for me to listen to the Ventarrón Quintet. Inside it, I find much of the purity that the groups that my father prepared, had, with the tango fibre that the Quintet has, and a lot, in its various styles. I don't have any doubt that the Ventarrón Quintet will be for the guitar what was Astor Piazzolla for the bandoneón and the tango, discovering a new world for the Buenos Aires music.
I congratulate the Quintet and I wish it the best thing with this excellent and delicate work, for the good of the tango.
Cacho Tirao

Buenos Aires, 17 de setiembre de 2002 It´s more than 50 years since, well or wrong, I play the guitar. My father that was a man of great vocation and conditions, although he was not a musician he played by ear, the flute and the guitar, and he taught me since I was a little child, to accompany the famous tangos. Later on, I integrated -next to Panchito Cao in clarinet, and the “Nene” Nicolini in bass, “Los muchachos de antes” (‘Yesterday Boys’), a ‘tracing’ of what my dear father and I used to make. Afterwards, I made up that of “Alain Debray”, in the European style, which gave me great satisfactions in the entire world. If, to all this, I add my forty years with Astor Piazzolla and now, the quartet with Leopoldo Federico, it could be said that I have certain experience in different tango forms.
But, indeed, the point of this comment is the Ventarrón Quintet of Angeleri, Calvo, Basurto, Ruffo and Margulies. They have really surprised me... They have achieved an excellent product. They have been able to join in this CD, a sum of the styles of so many guitarists, of those we do call as “criollos”, without neglecting none, from Barbieri, Guillermo Neira until the exceptional Roberto Grela, creator of a whole style, without forgetting Camataro and Pedretti and also, the great composer José Canet. And I don't want to forget that artist who was one of the most important jazz guitarists in the world, that also played and enjoyed much of the tango ... and died poor and forgotten, as it is so common in this Argentina of so bad memory ... The dear Oscar Alemán.
The Ventarrón Quintet has style, good arrangements and mainly “dirt”, that is so important in the tango. It is a discovery, indeed. To those that enjoy this gender, don't get lost it, since it exalts this tradition so ours of the guitar.
I wish them the best, great success and other volumes that, with the ‘fertile” hand of Gustavo Margulies, for sure they won't lack. It will do good to our tango.
Greetings, Ventarrón Quintet, and welcome!
Horacio Malvicino Luis Salinas
Buenos Aires, 2 de setiembre de 20LA BOHEMIA ORGANIZADA
Siempre que puedo voy a verlos. Para los que tenemos pasión por la música es un placer desde que empieza hasta que termina el concierto. Porque lo que el Quinteto Ventarrón hace es un verdadero homenaje a la guitarra, usándola en función de la música y del amor que demuestra tener por el tango.
Es una aparición diferente a todo lo que se hizo antes. Está el boliche, el haber acompañado a gente, la parrilla y también el toque fino, el matiz y un profundo respeto por el género. Es como un grupo “amateur” en el sentido en que se juntan por las ganas de hacer música y “despuntar el vicio”: una especie de bohemia organizada. Pero hecho por gente muy profesional, con una importante carrera individual en cada caso y en donde se dejan de lado los egos personales en función del equipo.
Los arreglos son orquestales, con una gran personalidad, sin pretensiones vanguardistas pero tampoco repitiendo viejos esquemas. Además tienen un cantorazo, con un corazón gigante.
En este país, que sin duda es uno de los más “guitarrísticos” del mundo, el Quinteto Ventarrón está haciendo historia y marcando un camino. Después de los excelentes conjuntos de hace unos años como Tres para el folklore o el Palermo Trío, no habían aparecido grupos de guitarras con este peso. Y la verdad es que tiene el techo lejos, con mucho futuro.
Tiene un nivel internacional. Desearía que fuese nuestro “embajador” del tango y la guitarra. Dice la verdad con sus cuerdas. Ni se miente ni miente a la gente.
Quinteto Ventarrón: un goce.
Luis Salinas