Orquesta Típica José Basso

José Hipólito Basso (30 January 1919 – 14 August 1993), known as Pepe, led one of the longest-running orquestas típicas of the post-Golden Age, remaining continuously active for more than fifty years alongside figures such as Osvaldo Pugliese and Alfredo De Angelis. Born in Pergamino, Buenos Aires province, he entered professional tango in 1936 at age seventeen as pianist with the De Caro brothers, replacing Héctor Grané. Subsequent engagements included Francisco Grillo, José Tinelli, the Gallardo-Ayala-Basso trio, Antonio Bonavena, Anselmo Aieta and Alberto Soifer’s Ronda de ases radio programme.^[32][33]

In September 1943 Basso joined Aníbal Troilo’s orchestra. His first recording with Troilo was Farol (30 September 1943); he remained until 29 April 1947, participating in eighty-eight sides, the last of which paired Flor de lino (Floreal Ruiz) with El milagro (Edmundo Rivero). The experience supplied both technical discipline and a recognisable rhythmic foundation that would underpin his own later work.^[32][34]

Basso formed his orquesta típica in 1947. The inaugural lineup comprised bandoneonists Julio Ahumada, Eduardo Rovira, Adolfo Francia and Andrés Natale; violinists Mauricio Mise, Francisco Oréfice, Rodolfo Fernández and Domingo Serra; cellist Leopoldo Marafiotti; and bassist Rafael Del Bagno. Debut engagements were simultaneous: Radio Belgrano, the Marzotto café on Corrientes and the Ocean Dancing on Leandro N. Alem. Initial singers were Ortega del Cerro and Ricardo Ruiz; Francisco Fiorentino replaced Ortega del Cerro in 1949, followed later by Jorge Durán and Oscar Ferrari. Subsequent vocalists included Rodolfo Galé, Floreal Ruiz, Alfredo Belusi, Héctor De Rosas, Juan Carlos Godoy and others.^[32][35]

Stylistically the orchestra began with clear Troilean characteristics and gradually acquired an individual profile. Contemporary descriptions emphasise a brilliant sonority, a variable rhythmic base, perfect sectional harmonisation, chains of successive solos, and piano-and-orchestra tuttis marked by a distinctive rhythmic division that invariably closed with a rallentando. Basso frequently conducted from the piano, often standing. He was among the directors who most successfully adapted Astor Piazzolla’s advanced tangos—Para lucirse, Prepárense, Triunfal, Contratiempo and Nonino—for the dance floor. His trademark instrumental introduction to Ahí va el dulce became widely recognised.^[35][36]

Commercial recording began with four 1949 test sides for RCA Victor (unreleased) and continued on Odeon with Claveles blancos (Floreal Ruiz) and El bulín de la calle Ayacucho (Francisco Fiorentino). Approximately 257 commercial sides were eventually issued, later supplemented by Music Hall releases. The orchestra maintained a busy schedule of radio, club dances, confiterías and, from the late 1950s, television (Canal 7’s Hit Parade, Grandes valores del tango, La botica del tango). In 1967 a Japanese tour contracted for one month extended to eight; a second visit in 1970 incorporated local Japanese violinists. Basso received the Konex Diploma of Merit as best orquesta típica director in 1985 and was named Académico de Honor of the Academia Nacional del Tango on 29 June 1990 in the Salón Dorado of the Teatro Colón.^[32][35]

As a composer Basso contributed instrumentals such as Once y uno, Pecachi, Brazo de oro, De diez siete and El pulga, the valses Celeste lluvia and Nuestro vals, and various milongas. The orchestra’s uninterrupted activity through the 1950s–1980s, its distinctive brilliant sound and its capacity to render both classic and contemporary material for dancers secured its place among the principal post-war orquestas típicas.^[33][36]

Formation and early years

Founded in 1947 after Basso’s departure from Troilo. Initial personnel: Ahumada, Rovira, Francia, Natale (bandoneons); Mise, Oréfice, Fernández, Serra (violins); Marafiotti (cello); Del Bagno (bass). Debut at Radio Belgrano, Marzotto and Ocean Dancing. First singers Ortega del Cerro and Ricardo Ruiz.^[32][35]

Style and sound

Brilliant sonority, variable rhythmic foundation, chained solos and characteristic piano-orchestra tuttis ending in rallentando. Initially Troilean, later personal. Successful dance adaptations of Piazzolla. Conducting often performed standing at the piano.^[35][36]

Recordings and repertoire

1949 RCA tests (unreleased); Odeon commercial from 1949. Approximately 257 commercial sides. Notable titles: Claveles blancos, Ahí va el dulce, Se han sentado las carretas, and Piazzolla works. Later Music Hall releases.^[32][35]

Later career and recognition

Continuous activity for more than fifty years. 1967 and 1970 Japan tours. 1985 Konex Diploma; 1990 Académico de Honor, Academia Nacional del Tango. Death 14 August 1993.^[32][33]