Pedro Maffia

Te aconsejo que me olvides — composed by Pedro Maffia[1][8]

Se muere de amor — composed by Pedro Maffia[1][23]

Ventarrón — composed by Pedro Maffia[1][5][9]

Taconeando — composed by Pedro Maffia[1][4][19]

Noche de reyes — composed by Pedro Maffia[1][22]

Cuándo volverás — composed by Pedro Maffia[6][16]

Por qué no has venido — composed by Pedro Maffia[7][20]

Sentencia — composed by Pedro Maffia[10]

Pura maña — composed by Pedro Maffia[11]

El cornetín — composed by Pedro Maffia[12]

La mariposa — composed by Pedro Maffia[13]

No aflojés — composed by Pedro Maffia[14]

Pelele — composed by Pedro Maffia[15]

Pobre gallo bataraz — composed by Pedro Maffia[17]

Juan Tango — composed by Pedro Maffia[18]

Estampa federal — composed by Pedro Maffia[24]

Mineral — composed by Pedro Maffia[25]

Llanto — composed by Pedro Maffia[26]

Arco iris — composed by Pedro Maffia[27]

No seas malita — composed by Pedro Maffia[28]

Misa rea — composed by Pedro Maffia[29]

Pegaste la falta — composed by Pedro Maffia[30]

Tiny — composed by Pedro Maffia[31]

Abandono — composed by Pedro Maffia[32]

Diablito — composed by Pedro Maffia[33]

Fuiste mala — composed by Pedro Maffia[34]

Left Julio De Caro1926[2]

Played in Julio De Caro1925–1926[2]

Osvaldo Pugliese — played in Pedro Maffia1926[43]

Atilio Stampone — played in Pedro Maffia1942[44]

Pedro Laurenz y Pedro Maffia — played in Pedro Maffia1925[45]

Led Pedro Maffia1929–1930[3]

MusicBrainz · 0c7e5e60-7db8-4fa9-beea-ea7dc197dddesource

Discogs · 777457[21]

Mineral — lyrics by Pedro Maffia[25]

Maffia is renowned for ligado playing: the smoothness of his phrasing, linking note to note and phrase to phrase, with a velvety tone.[35]

In Julio De Caro's orchestra Maffia was the number-one bandoneón and Laurenz the number two, so Maffia usually took the solo even in passages that suited Laurenz's style better.[36]

Maffia withdrew from tango around 1946 as the music grew louder and less suited to his tender, introverted style, but came back in 1957 to back singer Alberto Gómez; this recording of 'La Bordona' was mistakenly released decades later on a 1990s Mexican reissue label and long assumed to be Troilo until identified as Maffia.[37]

In 1930 Maffia records 62 titles across two labels, switching from Brunswick to Columbia partway through the year for reasons the hosts don't know; around this time a would-be bandoneón player in his band, Roberto Fiorentino, decided he'd never be good enough on the instrument and became a singer instead.[38]

Maffia played legato in phrases where notes ran into each other, a big influence on Troilo's phrasing as a bandoneonist and bandleader.[39]

Ventarrón was written by Maffia in 1930; Maffia himself had no recording contract in 1933.[40]

Maffia left Julio De Caro in 1926 and formed his own orchestra but got no record contract; Odeon recorded a couple of bandoneón duos of him and De Franco, and he did not get a contract until Brunswick entered the market in 1929. Lavocah calls him one of the most important instrumentalists and composers of the time, audible mainly through other bands' recordings of his songs.[41]

Laurenz and Maffia co-wrote Amurado, one taking the smooth, velvet verse and the other the excited chorus; Michael admits he can't remember which of the two wrote which half.[42]

Born on August 28, 1899[46]

Died on October 16, 1967[46]

Born in Buenos Aires[47]