Those who know Francisco Gato (henceforth, Quito) are well aware that he is an all-terrain player of plucked strings. He has been seen for years playing guitar, vihuela, lute, or any other instrument from this family in baroque or renaissance music recitals. He is also known as an arranger of vocal music and as a teacher who has trained musicians currently working as instrumentalists, singers, and choir directors. A complete musician who has always had a contemporary approach to ancient music. Some time ago, he moved to Spain, but now he has taken a few days to come back and record this bold album of tangos and milongas in his brother Ariel’s studio (it is important to mention Ariel because he had a lot to do with the creation of this material). Bold from the start, because he proposes the romantic guitar as the instrument, in this case, a replica of a London guitar from 1840, with which he achieves a brilliant sound. In some tracks, he adds other replicas (baroque violin and cello, cornet) that bring us closer to timbres similar to those with which tango was born, interestingly enough. The album is part of what is called the early fusion movement, which involves making new music with ancient instruments. An interesting twist that can yield results like this one. Alfredo Casero contributes his voice in a poem, and the luxurious graphics and didactic text editing add a lot.