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1. Osvaldo Fresedo9 days agoDescribed as Fresedo played the bandoneón solos on his own recordings and continued performing into the early 1930s, unlike Firpo, who had already stopped playing in his ownOsvaldo Fresedo9 days agoDescribed as Fresedo played the bandoneón solos on his own recordings and continued performing into the early 1930s, unlike Firpo, who had already stopped playing in his own
2. Osvaldo Fresedo9 days agoDescribed as Fresedo is Lavocah's favourite orchestra of 1927, edging out Firpo and Maglio; this period's stripped-back, six-piece Fresedo has a 'romanticism with bite' not Osvaldo Fresedo9 days agoDescribed as Fresedo is Lavocah's favourite orchestra of 1927, edging out Firpo and Maglio; this period's stripped-back, six-piece Fresedo has a 'romanticism with bite' not
3. Guardia Nueva9 days agoDescribed as Milonguero Eduardo Aguirre ('Eduardo del Colón'), who danced at Almagro into old age, said in a 2000s interview that he began working around age 7, delivering nGuardia Nueva9 days agoDescribed as Milonguero Eduardo Aguirre ('Eduardo del Colón'), who danced at Almagro into old age, said in a 2000s interview that he began working around age 7, delivering n
4. Alfredo de Franco9 days agoDescribed as Alfredo De Franco composed the melancholy tango 'Cotorrita de la suerte' at age 17, before going on to record bandoneón duets with Pedro Maffia.Alfredo de Franco9 days agoDescribed as Alfredo De Franco composed the melancholy tango 'Cotorrita de la suerte' at age 17, before going on to record bandoneón duets with Pedro Maffia.
5. Aníbal Troilo9 days agoDescribed as Both Maffia and Laurenz were important early inspirations for the young Aníbal Troilo; over time the Laurenz influence recedes from Troilo's playing, leaving moAníbal Troilo9 days agoDescribed as Both Maffia and Laurenz were important early inspirations for the young Aníbal Troilo; over time the Laurenz influence recedes from Troilo's playing, leaving mo
6. Julio De Caro9 days agoDescribed as 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 thJulio De Caro9 days agoDescribed as 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 th
7. Francisco De Caro9 days agoDescribed as Where Canaro and Lomuto's piano accompaniment is simple and repetitive ('chug chug chug chug'), Francisco De Caro's piano conduction is far more harmonically adFrancisco De Caro9 days agoDescribed as Where Canaro and Lomuto's piano accompaniment is simple and repetitive ('chug chug chug chug'), Francisco De Caro's piano conduction is far more harmonically ad
8. Pedro Maffia9 days agoDescribed as Maffia is renowned for ligado playing: the smoothness of his phrasing, linking note to note and phrase to phrase, with a velvety tone.Pedro Maffia9 days agoDescribed as Maffia is renowned for ligado playing: the smoothness of his phrasing, linking note to note and phrase to phrase, with a velvety tone.
9. Julio De Caro9 days agoDescribed as 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 CJulio De Caro9 days agoDescribed as 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 C
10. Guardia Nueva9 days agoDescribed as French labor law made it hard for foreign musicians to get work permits, so touring Argentine tango bands registered as 'foreign artistes' rather than musiciansGuardia Nueva9 days agoDescribed as French labor law made it hard for foreign musicians to get work permits, so touring Argentine tango bands registered as 'foreign artistes' rather than musicians
11. FRANCISCO PRACÁNICO9 days agoDescribed as Pracánico was both Electra's musical/artistic director and the composer of well-known tangos including 'Corrientes y Esmeralda' and 'Mentira.'FRANCISCO PRACÁNICO9 days agoDescribed as Pracánico was both Electra's musical/artistic director and the composer of well-known tangos including 'Corrientes y Esmeralda' and 'Mentira.'
12. Elvino Vardaro9 days agoDescribed as A violinist (heard as 'Vodaro'/'Vardaro') appears as an uncredited session player on many Victor and Maglio recordings of this era, recognizable by his tone, thElvino Vardaro9 days agoDescribed as A violinist (heard as 'Vodaro'/'Vardaro') appears as an uncredited session player on many Victor and Maglio recordings of this era, recognizable by his tone, th
13. Francisco Canaro9 days agoDescribed as Canaro was still in Paris at this time; his orchestra's 1926 recordings were actually directed by Minotto, and even into early 1927 it may still have been MinotFrancisco Canaro9 days agoDescribed as Canaro was still in Paris at this time; his orchestra's 1926 recordings were actually directed by Minotto, and even into early 1927 it may still have been Minot
14. Francisco Canaro9 days agoDescribed as In 1927 alone, Canaro recorded over 350 tracks by himself, an extraordinary rate of production.Francisco Canaro9 days agoDescribed as In 1927 alone, Canaro recorded over 350 tracks by himself, an extraordinary rate of production.
15. Recording 139549 days agoDescribed as A delicate, intimate instrumental, the only recording of this Juan Carlos Giro composition.Recording 139549 days agoDescribed as A delicate, intimate instrumental, the only recording of this Juan Carlos Giro composition.
16. Recording 140089 days agoDescribed as A sweet, stripped-back six-piece Fresedo piece, chosen to open his segment as Lavocah's favourite orchestra of the year.Recording 140089 days agoDescribed as A sweet, stripped-back six-piece Fresedo piece, chosen to open his segment as Lavocah's favourite orchestra of the year.
17. Recording 160839 days agoDescribed as A melancholy tango, later known from Troilo-Marino; composed by Alfredo De Franco at age 17.Recording 160839 days agoDescribed as A melancholy tango, later known from Troilo-Marino; composed by Alfredo De Franco at age 17.
18. Recording 146679 days agoDescribed as Another bandoneón duo from when Maffia and Laurenz still played together, prized for how distinctly their two personalities come through.Recording 146679 days agoDescribed as Another bandoneón duo from when Maffia and Laurenz still played together, prized for how distinctly their two personalities come through.
19. Recording 111189 days agoDescribed as Composed by Francisco De Caro; played for its true classical counterpoint and 'astonishing' piano conduction.Recording 111189 days agoDescribed as Composed by Francisco De Caro; played for its true classical counterpoint and 'astonishing' piano conduction.
20. Recording 145959 days agoDescribed as A De Caro-orchestra era bandoneón composition by Laurenz, picked for its bubbly piano B section (Francisco De Caro).Recording 145959 days agoDescribed as A De Caro-orchestra era bandoneón composition by Laurenz, picked for its bubbly piano B section (Francisco De Caro).
21. Recording 87769 days agoDescribed as Paired with Bacán fulero; noted for a violin counter-melody late in the piece.Recording 87769 days agoDescribed as Paired with Bacán fulero; noted for a violin counter-melody late in the piece.
22. Recording 86289 days agoDescribed as Picked for its delicate piano against Lomuto's usual heavy beat.Recording 86289 days agoDescribed as Picked for its delicate piano against Lomuto's usual heavy beat.
23. Recording 74139 days agoDescribed as Picked for its violin counter-melody (obbligato) against delicate piano; used to explain what a counter-melody is.Recording 74139 days agoDescribed as Picked for its violin counter-melody (obbligato) against delicate piano; used to explain what a counter-melody is.
24. Recording 68199 days agoDescribed as A simple vals Canaro liked enough to record twice: acoustically in early 1926, then again electrically in 1927; picked for its delicate piano playing.Recording 68199 days agoDescribed as A simple vals Canaro liked enough to record twice: acoustically in early 1926, then again electrically in 1927; picked for its delicate piano playing.
25. Julio De Caro9 days agoDescribed as 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 Julio De Caro9 days agoDescribed as 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
26. Juan Maglio9 days agoDescribed as Lavocah argues Juan Maglio's 1920s orchestra is the main direct influence on Juan D'Arienzo's famous late-1930s beat: the same hard four-in-a-bar pulse, simple Juan Maglio9 days agoDescribed as Lavocah argues Juan Maglio's 1920s orchestra is the main direct influence on Juan D'Arienzo's famous late-1930s beat: the same hard four-in-a-bar pulse, simple
27. Rodolfo Biagi9 days agoDescribed as Before leading his own band, Biagi played piano in a small group that had backed Carlos Gardel; in 1927 he cut a single two-sided Victor record under his own naRodolfo Biagi9 days agoDescribed as Before leading his own band, Biagi played piano in a small group that had backed Carlos Gardel; in 1927 he cut a single two-sided Victor record under his own na
28. Agesilao Ferrazzano9 days agoDescribed as Violinist Agesilao Ferrazzano played on Firpo's first-ever performance of La Cumparsita in 1916; he toured Europe in 1928, liked it, and never permanently returAgesilao Ferrazzano9 days agoDescribed as Violinist Agesilao Ferrazzano played on Firpo's first-ever performance of La Cumparsita in 1916; he toured Europe in 1928, liked it, and never permanently retur
29. Elvino Vardaro9 days agoDescribed as Vardaro was contracted to Victor in the late 1920s, so he plays violin on almost every Victor tango side of the period, apart from 1929-30 while he was forming Elvino Vardaro9 days agoDescribed as Vardaro was contracted to Victor in the late 1920s, so he plays violin on almost every Victor tango side of the period, apart from 1929-30 while he was forming
30. Puente Alsina9 days agoDescribed as The lyric of 'Puente Alsina' mourns a Buenos Aires barrio being redeveloped and paved over; Lavocah reads porteños' strong attachment to neighbourhood partly toPuente Alsina9 days agoDescribed as The lyric of 'Puente Alsina' mourns a Buenos Aires barrio being redeveloped and paved over; Lavocah reads porteños' strong attachment to neighbourhood partly to