There aren't many jazzers with airports named in their honour. In fact, aside from Argentine bandoneón player extraordinaire Astor Piazzolla, are there any? Answers on a postcard to the editor. Not that Piazzolla was principally a jazz musician. Anyway, here the oeuvre of the high-flying master of nuevo tango, who turned a popular dance into an art form, gets a powerful 21st-century makeover courtesy of Daniel Yvinec's Orchestre National de Jazz, which has previously applied its talents to the music of Robert Wyatt and John Hollenbeck (that one drew a Grammy nomination). This set opens with a snippet of Carlos Gardel's ‘El dia que me quieras’ (Piazzolla played a newspaper boy in the movie, which had an important impact on the development of tango) before crackly nostalgia gives way to Gil Goldstein's crisp arrangements of much-loved Piazzolla originals (‘Balada para un loco’, ‘Libertango’, ‘Oblivion’) intercut with a few non-canonical outriders (e.g. Matthieu Metzger and Sylvain Daniel's ‘Pantélon improvisación’). The ONJ contains many virtuoso instrumentalists but – perhaps just as well – no bandoneónist. Midway through the set we do, however, get another artfully placed clip from the vaults – Francisco De Caro's ‘Flores Negras’ performed by Roberto Di Filippo, who so impressed Piazzolla that the maestro told him: “Someday we're going to play together and I'll be your second bandoneón.” High praise indeed.