Julio De Caro

Plays second violin in a zarzuela company at the Teatro Lorea, against his father's wishes.1915[1]Single source

Plays a tango with Roberto Firpo's orchestra at the Palais de Glace; Eduardo Arolas then takes him into his group.1917[1]Single source

Leaves Arolas and forms a quartet with Pedro Maffia at the Café El Parque.1919[1]Single source

Plays in Juan Carlos Cobián's orchestra at the Abdulla Club in the Galería Güemes.1923[1]Single source

Forms his own sextet at the end of the year, then plays afternoons at the Café Colón and on Radio Sudamérica.1923[1]Single source

Plays at Ciro's Club in the Palais de Glace for the reception of the Prince of Wales.Apr 10, 1925[1]Single source

Starts recording for Brunswick after five years with Victor.1929[1]Single source

Opens a European tour at the Palais de la Méditerranée in Nice and records music for the film Luces de Buenos Aires in Paris.1931[1]Single source

Leads a 40-piece orchestra for the carnival at the Teatro Colón.1935[1]Single source

Presents The evolution of tango at the Teatro Ópera with the Radio El Mundo symphony orchestra.1936[1]Single source

Retires from leading his orchestra.1954[1]Single source

Dies in Mar del Plata; buried at Chacarita.Mar 11, 1980[1]Single source

De Caro's bandoneón pairing changed repeatedly: Luis Petruccelli and Pedro Maffio from 1924 (both quit over credit going solely to De Caro despite being billed as a cooperative); Maffio returned (needing money after gambling losses) alongside new hire Pedro Laurenz through most of 1926; Maffio quit again at the end of November 1926, Laurenz was promoted to first chair, and a Blasco brother became second. Aficionados prize the Maffio-Laurenz pairing because Maffio's dark, introverted tone contrasted with Laurenz's brilliant, extroverted one, whereas Blasco mostly imitated Laurenz.[18]Single source

At the start of 1926 De Caro's bandoneón section was Pedro Maffia and Pedro Laurenz; around the end of November 1926 Maffia quit to start his own band, and De Caro replaced him with Laurenz and Blasco.[19]Single source

Pugliese likely never recorded De Caro's beautiful melodies such as 'Loco bohemio' and 'Flores negras' because, despite knowing them well, he didn't consider them danceable (milonguero) enough.[19]Single source

By 1941 De Caro, having spent 15 years making tango more complex, was completely disoriented by D'Arienzo's success with simpler, faster, old-style tango, and started playing faster himself in a way that didn't suit him.[20]Single source

De Caro's 1941 orchestra has no real marcato: the double bass acts as just another melodic string line rather than marking the beat, which is why dancers can't use it at a milonga.[20]Single source

De Caro led a musicians' union strike for better conditions that caused him real trouble, contributing to a four-year retirement from the scene; when he returned around 1948-49 his roughly 20 new recordings sounded completely different, warmer, and influenced by his former disciple Pugliese.[20]Single source

With Laurenz gone, the 1935 bandoneón section is led or co-led by Marcucci (who arranged Tangomanía) and Gabriel Clausi; the quality of the orchestra was no longer what it was before Laurenz left.[21]Single source

On a 1931 tour of France, De Caro's band played a private gig for the Rothschild banking family on the Côte d'Azur; unlike every other band hired for such parties, De Caro refused to play behind the usual curtain and was the only band to perform visible to the guests.[22]Single source

In 1936 De Caro assembled a symphony orchestra of more than 30 musicians, billed as 'Orquesta Melódica Internacional' rather than orquesta típica, and brought in two outside arrangers, partly to try to win back cinema work lost to talking pictures by doing something too different to ignore.[23]Single source

1930 is the only year De Caro ever recorded La Cumparsita, in a sprawling four-and-a-half-minute arrangement with almost a minute of introduction — so long the record company had to press it on an oversized disc to fit it.[24]Single source

Michael considers De Caro's final recording years, 1948-53, far fewer sides a year than his famous 1920s heyday, to be his creative peak, even though it had far less impact on the wider scene than his earlier work.[25]Single source

Troilo and Pugliese's evolving styles both carry forward the influence of Julio De Caro, as his disciples carried his music into the next decade.[26]Single source

In the Julio De Caro orchestra, Julio was the violinist and business organiser, but pianist Francisco De Caro was the true musical architect; most of the best-regarded compositions credited to Julio, including Tierra Querida, were actually written by violinist/arranger Laurenz.[27]Single source

De Caro's comeback runs until 1952 with about two dozen recordings, many new versions of old hits; he called Pugliese his 'spiritual son'. He no longer plays violin, first violin is Manuel Francia.[28]Single source

In 1926 the De Caro band already played advanced music, with the Maffia and Laurenz duo pushing it; the soft parts are Maffia.[29]Single source

De Caro's early project lacked underpinning bass notes; Lavocah says dancers need bass notes to walk.[30]Single source

The new guard (Julio De Caro, Pedro Maffia, Luis Petrucelli) were beginning to record and influence the scene in 1928 but not selling many records; they would take a while to be recognised.[31]Single source

'De Caro' means two first names: Julio, the violinist and organiser, and Francisco, the pianist, who is the better musician, the motor of the orchestra and a clear influence on Pugliese. The project to include all the new ideas was not only theirs.[31]Single source

In 1928 De Caro first recorded several works later famous from other orchestras: El monito, Mala pinta (Pugliese 1944) and Maipo (D'Arienzo 1939, though it's an Arola composition), selecting the most interesting material.[31]Single source

De Caro played for a select audience; the tango band hired to play at the ball when the Prince of Wales visited in 1925 was De Caro's, not Canaro's. In his band Pedro Maffia has left but has no record contract until Brunswick enters the market in 1929.[31]Single source

De Caro had become disoriented by the D'Arienzo phenomenon, making simpler, faster music than he normally did, even in a milonga.[32]Single source

After talking pictures pushed live orchestras out of the cinemas, Fresedo and De Caro each expanded their bands with outside arrangers and extra instruments like piccolos, trombones and harp to play the new Astor cinema from June 1932, calling the result symphonic tango, though Canaro had already used the term "symphony band" years earlier without getting the credit.[22]Single source

Incorporación de un estilo depurado en la interpretación orquestal del tango[1]Single source

Release “Todo corazón 1924-1928” (1996) on El Bandoneón EBCD 83, ES1996source

Release “Reliquias: Tangos de rompe y raja” (1998) on EMI–Odeon S.A.I.C. 4 95376 2, AR1998source

Won Honoured at Luna Park on the first National Tango Day, his birthday; his last stage appearance.Dec 11, 1977[1]Single source

Led by Julio De Caro1924–1940[2][3][4][5][7][10][13]Supported · 2

Pedro Maffia — left Julio De Caro1926[3]Single source

Pedro Laurenz — played in Julio De Caro1925–1926, 1926, 1932[3][1]Supported · 2

Emilio de Caro — played in Julio De Caro1925–1926[3]Single source

Francisco De Caro — played in Julio De Caro1925–1926[3]Single source

Pedro Maffia — played in Julio De Caro1925–1926[3]Single source

Played in Teatro Colón1933[33]Single source

Aníbal Troilo — played in Julio De Caro1932[1]Single source

Manlio Francia — joined Julio De Caro1926[3]Single source

Antonio Arcieri — joined Julio De Caro1926[3]Single source

Enrique Pollet — joined Julio De Caro1926[3]Single source

Antonio Romano — joined Julio De Caro1926[3]Single source

José Nieso — joined Julio De Caro1932[10]Single source

Pedro Laurenz — joined Julio De Caro1932[10]Single source

Aníbal Troilo — joined Julio De Caro1932[10]Single source

Francisco De Caro — joined Julio De Caro1932[10]Single source

José María Rizzuti — joined Julio De Caro1932[10]Single source

Canción del olvido · Julio De Caro · 1931 — recorded by Julio De Caro1931[6]Single source

Boedo · Julio De Caro · 1928 — recorded by Julio De Caro1928[8]Single source

Loca bohemia · Julio De Caro · 1928 — recorded by Julio De Caro1928[9]Single source

Mariposa · Julio De Caro · 1940 — recorded by Julio De CaroSep 3, 1940[7]Single source

Not Antonio Rodríguez Lesende — recorded by Julio De Caro1932[10]Single source

Viña del mar · Julio De Caro · 1936 — recorded by Julio De CaroDec 13, 1936[12]Single source

Saca chispas · Julio De Caro · 1938 — recorded by Julio De CaroMar 10, 1938[13]Single source

Anibal Troilo · Julio De Caro · 1949 — recorded by Julio De CaroApr 10, 1949, Sep 29, 1949[15]Single source

Luis Díaz — sang with Julio De Caro1927, 1931, Mar 10, 1938[6][13][1]Supported · 2

Héctor Farrel — sang with Julio De CaroMay 1939–Oct 1943, Sep 3, 1940[7][37]Supported · 2

Antonio Rodríguez Lesende — sang with Julio De Caro1932[10][1]Supported · 2

Pedro Lauga — sang with Julio De CaroDec 13, 1936[12]Single source

Agustin Volpe — sang with Julio De CaroJul 2, 1942, Sep 16, 1942[14]Single source

Orlando Verri — sang with Julio De CaroOct 27, 1950[16]Single source

Edmundo Rivero — sang with Julio De Caro1937[1][34]Supported · 2

Carlos Viván — sang with Julio De Caro1943–1944[35]Single source

Félix Gutiérrez — sang with Julio De Caro1927[36]Single source

Santiago Devincenzi — sang with Julio De Caro[38]Single source

Alberto Lago — sang with Julio De Caro[39]Single source

Roberto Taibo — sang with Julio De Caro1951–1953[40]Single source

Maria de la Fuente — sang with Julio De Caro[41]Single source

Hermanas Desmond — sang with Julio De Caro1936[42]Single source

Performed at Teatro ColónSep 18, 1933[11]Single source

tango.info · JulioDecar[17]Single source

Its leader was born in Buenos AiresDec 11, 1899[1]Single source

Its leader died in Mar del PlataMar 11, 1980[1]Single source